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THE 


A.RTIST  AND  TRADESMAN'S 


COMPANION; 


BllBRACrSO  THE  MANITFACTUHE   AND  THE  APPLICATION   OF  VAKNKHW 
TO   PAINTING   AND   OTHER   BRANCHES  OF  THE  ARTS  ;    INSTEUOTIONa 
FOR   WORKING   ENAMEL,    FOIL,    ETC.;     THE   ART   OF    GLAZINa, 
IMITATION  OF  GOLD  COLOR,  TORTOISE-SHELL,  MARBLE,  AND 
ART  OF  STAINING   WOOD  AND  METAL  ;    IMITATION  OF 
FANCY  WOODS,  GRANITE,  PRECIOUS  STONIS,  SIL- 
VER, BRASS  AND  COPPER  ;  HOUSE-PAINTINO, 
CARRIAGE- PAINTING,  ETC.,  WITH  EVE 
BTTHING  RELATING  TO   THE   FINE 
AS.TS,   ETC.   ETC.,    ENTIRELY 
SIMPHFIED. 


C®itt)   illustrations. 
COMPILED  BY  M.  LAFAYETTE  BYRN,  M.  D, 

GBiDUATE   OF  THE   CSITBESITr    OF  IHB   CITY    OF  KBW    YORK. 

Author  of  "The  Complete  Practical  Brewer,"  "  Detection  of  Fraud  and 

Protection  of  Health,"  "The  Complete  Practical 

Distiller,"  &c  &c. 


PHILADELPHIA: 

J.    B.    LIPPINCOTT    &    CO. 
1866. 


Entered,  according  to  Act  of  Congress,  in  the  Year  One  Thousand 
Eight  Hundred  and  Fifty-three,  by  STEAENS  &  COMPANY,  in 
the  Clerk's  Office  of  the  District  Court  of  the  United  States,  foi 
the  Southern  District  of  New  York. 


PREFACE. 


This  little  work  has  been  prepared  with  great  care, 
for  the  purpose  of  making  it  practically  useful  to  a 
large  class  of  persons  engaged  almost  entirely  in  pur- 
suits of  this  nature,  and  also  to  aid  any  and  every 
one  in  performing  such  duties  in  the  arts  as  will 
usually  be  needed,  where  an  experienced  artist  can- 
not be  found ;  as  is  the  case  very  often  in  that  por- 
tion of  this  country,  where  the  arts  and  sciences 
have  not  made  such  progress  as  we  witness  in  the 
older  settled  parts,  as  the  eastern  and  middle  states. 

Everything  has  been  so  simplified,  that  a  boy  fif- 
teen  years  old  can  perform  nearly  all  the  operations 
in  a  short  time,  by  a  little  care  and  attention,  with 
credit  to  himself  and  at  a  comparative  small  outlay 
of  means.     It  is  hoped  that  the  effort  made  to  render 


Vl  PREFACE. 

this  book  of  great  service  to  every  practical  man 
througiiout  this  country,  will  prove  successful ;  if  so, 
the  grand  object  in  its  preparation  will  have  been 
attained. 

All  the  works  on  this  subject  have  been  made  use 
of  attainable,  and  the  matter  has  been  appropriated 
to   the   best   purpose  in    the    present  volume. 

M.  La  B. 


CONTENTS. 


Pagk. 

The  Manufacture  of  Varnish  on  a  large  scale 15 

Of  an  Alembic,  or  Still,  suitable  for  the  manufacture 

of  Varnish 32 

To  make  Red  Sealing  Wax 41 

To  make  Black  Sealing  Wax 41 

To  make  Artificial  Venice  Turpentine 42 

To  make  French  Polish 44 

To  make  Artificial  Asphaltum 45 

To  make  Black  Varnish  of  Silhet 45 

To  make  Varnish  of  Caoutchouc. 45 

To  make  Varnish  for  Balloons . . 46 

Caoutchouc  Varnish,  with  Naphtha 46 

To  make  Brunswick  Black 47 

To  make  Black  Japan  Varnish 47 

To  make  White  Hard  Varnish 47 

To  make  Sheldrake's  Copal  Varnish 48 

To  make  Shellac  Varnish 48 

Division  of  Varnishes  into  Five  Classes,  with  In- 
structions for  Preparing  them,  &c 49 

Class   First. — Varnishes    possessing  a  Drying  Quality, 

made  with  Rectified  Spirit  of  Wine..-.  49 


•  *f 


viu  contents. 

Pags. 
Class  Second. — ^Varnishes  which,  though  Spirituous,  are 

less  Drying  than  Class  First 61 

Class  Third  of  Varnishes 57 

Class  Fourth. — Varnishes  of  Copal,  made  with  Ether  and 

Oil  of  Turpentine 64 

Description  of  a  Furnace,  intended  for  the  Liquefac- 
tion of  Copal  and  Amber 68 

Class  Fifth  of  Varnishes 73 

Of  the  Various  Colored  Varnishes,  with   Instruc- 
tions for  Preparing  them. — Glazing  on  Metallic  or 

other  substances. — Preparation  of  Foils,  &c 77 

Transparent  Green 77 

Another  Green  Color 77 

Another  Green  Color,  by  Composition 77 

Blue  Color 78 

Superb  Liquid  Blue 78 

Yellow 80 

Dark  Red 80 

Violet 80 

Observations  on  the  Application«)F  Copal  Var- 
nish, for  Repairing  Opaque  Enamel 82 

White,  Black,  Yellow, 84 

Blue,  Green,  Red,  Purple,  Brick-Red,  Buff-Color,  Violet, 

Pearl  Gray 85 

Preparation  of  Foil 86 

Blue  Color 88 

Green 88 

Red 88 

Lilac 90 

Ruby  Color 90 

Rose  Color QO 


contents. 

Paqb. 

Poppy  Red 90 

Plum  Color 90 

Of  the  Process  for  Preparing  Waxed  or  Varnished 
Cloth,  Varnished  Silk,  Court-Plaster,  Various  Me- 
thods of  Staining  Wood,  &c. 91 

Fine  Printed  Varnished  Cloth 94 

Varnished  Silk 95 

Another  kind  of  Varnished  Silk 99 

Court-Plaster 99 

Numerous  Processes  for  Staining  Wood 101 

A  Red  Stain 101 

A  Light  Red,  approaching  to  Pink 101 

A  very  Dark-Red  Stain 101 

The  old  Method  of  Staining  Wood  Red 102 

A  Yellow  Stain 102 

Blue  Stains 102 

A  Blue  Stain  with  Copper 103 

A  Green  Stain 103 

A  Blue  Stain  with  Indigo 103 

A  Purple  Stain... 104 

A  Black  Stain 104 

A  very  fine  Black 105 

A  common  Black  Stain 105 

Mahogany  Stains 105 

A  Light  Red-Brown  Mahogany 105 

Spanish  Mahogany  Stain 106 

Fancy  Woods 106 

Rose  Wood   Stains 106 

Observations  on  House-Painting,  with  Instructions  for 

Preparing  the  various  Colors,  &c 108 

Tinting 117 


X  CONTENTS. 

Gilding  in  Oil 118 

Of  Compound  Colors 119 

Brilliant  Peach  Blossom 120 

Lilac,  Light  Gray,  French  Gray,  Orange  Color,  Buff, 

Green 122 

Straw  Color  in  Size 123 

Blue  in  Distemper. — Blue  Verditer 123 

Drab  in  Size 124 

Milk-Paint  for  In-door  Work 124 

Distemper  Colors  for  Walls 125 

Lime  Whitewash. — Paste  for  Paper-hanging. — To  Imi- 
tate Cherry-Tree 127 

Transparent  Colors  for  Painting. — Directions  for  Inside 

Painting 128 

The  Second  Coat  for  White.— The  Third  Coat.— Paint- 
ing in  Dead-Colors  for  Inside  Work 129 

To  Flat  a  French  Gray  on  Hard  Finished  Walls 130 

To  make  and  apply  the  Flatting 131 

Instructions  for  Writing 132 

To  give  Lustre  to  a  Light  Blue  Ground. — Harmony  of 

Colors. — Marbling  Paper 134 

To  Prepare  the  Ground  for  the  Oak-Rollers. — Oil  for 

Graining  Oak. — Spirit  Graining  for  Oak 139 

To  Imitate  Oak  in  Distemper 142 

To  Imitate  Old  Oak. — To  Grain  Oak  in  Distemper 144 

To  Imitate  Old  Oak  in  Oil. — Pollard  Oak  in  Distemper. — 

To  Imitate  Pollard  Oak 145 

Pollard  Oak  in  Oil 146 

A  good  Ground  for  Mahogany. — To  Imitate  Mottled  Ma- 
hogany    147 

To  Imitate   New  Mahogany. — To  Imitate  Rose  Wood 

with  Rollers 148 

To  Imitate  Bird's-eye  Maple 150 


contents.  xi 

Page. 

To  Imitate  Curled  Maple 151 

Cnrled  Maple,  in  Oil,  for  Outside  Work 152 

Satin  Wood 153 

To  Imitate  Yew  Tree.— To  Imitate  Hair  Wood 154 

Hair  Wood  for  Chairs. — To  Imitate  Black   and  Gold 

Marble 155 

Dove  Marble 157 

White-Veined  Marble ---  159 

Sienna  Marble 160 

Italian  Marble 161 

Red  Marble,  Jasper  Marble,  Blue  and  Gold  Marble 163 

Imitation  of  Marble  in  Distemper 163 

Verd-antique 165 

Marble  to  resemble  Jasper. — To  Imitate  Porphyry  Marble  168 

To  Imitate  Granite. — To  Polish  Woods  and  Marbles...  170 

To  Imitate  Tortoise-Shell 171 

Varnish  for  Applying  on  Glass, — Water-proof  Polish. — 

To  Heighten  the  Color  of  Gold  on  Brass 172 

To  Dissolve  Gold 172 

Instructions  for  Gilding  the  edges  of  Paper 174 

General  Observations  on  the  Art  of  Gilding 175 

Miscellaneous --  184 

Art  of  Imitating  Oak,  Mahogany,  Satin  Wood,  Walnut, 

Rose  Wood,  and  Maple 200 

Directions  for  Painting  Sail-Cloth,  to  make  it  Pliant, 

Water-proof,  and  Durable 214 

Directions  for  making  a  Varnish  which  will  protect 

•     Glass  from  the  rays  of  the  sun. 214 


ARTIST  AND  TRADESMAN'S   COMPANION. 


THE 


ARTIST  AND  TRADESMAN'S  COMPANION. 


THE  MANUFACTURE  OF  VAENISH  ON  AN 
EXTENSIVE  SCALE. 

It  is  to  the  resinous  and  gum-resinous  substances, 
more  particularly,  that  we  are  indebted  for  the  best 
varnish ;  though  the  pure  gums,  isinglass,  the  ^hite  of 
eggs,  and  a  few  other  stiostances,  may  become  ingre- 
dients in  varnish  sometimes.  The  principal  liquids  used 
as  vehicles  for  varnish,  are  spirit  of  wine,  the  essential 
oils  extracted  by  distillation  from  vegetables  and  thi 
fixed  or  fat  oils.  The  essential  qualities  of  most  var 
nishes  are  transparency,  limpidity,  and  lustre.  It  is 
necessary,  though,  that  they  should  possess  the  quality 
of  drying  speedily,  and  giving  solidity  to  the  resinous 
stratum  which  serves  as  a  glazing  to  the  bodies  which 
they  cover.  It  is  also  requisite  that  a  composition  of 
this  sort  should  at  the  same  time  be  colorless,  so  that 
it  will  not  weaken  or  disfigure  the  tints  of  the  colors 
which  it  covers,  and  which  it  ought,  on  the  contrary,  to 
bring  out  in  their  full  brightness,  by  protecting  them 
from  the  influence  of  air  and  moisture. 

Gum  sandarac,  employed  formerly  by  the  Arabs  for 


16  ARTIST    AKD    TRADESMAN'S    COMPANION. 

this  purpose,  was  the  only  matter  which  seemed  likely 
to  answer  the  proposed  end.  It  is  easily  prepared,  and 
possesses  lustre  ;  but  it  is  attended  with  the  disadvan- 
tage of  a  little  dryness,  which  may  be  corrected.  Tur- 
pentine, and  all  the  modifications  of  it  by  the  effect  of 
evaporation  ;  mastic,  which  has  more  solidity  than  san- 
darac ;  gum  anime,  and  gum  elemi,  gum  lac  and  copal, 
compose  nearly  the  catalogue  of.  the  matters  employed 
for  the  composition  of  drying  varnishes,  or  those  made 
with  spirit  of  wine. 

The  extreme  dryness  of  some  of  them  is  corrected  by 
uniting  them  with  others  which  are  less  dry,  and  which 
still  retain  a  portion  of  essential  oil,  such  as  gum  elemi, 
gum  anime,  camphor,  and  turpentine.  The  same  effect 
is  produced  also  by  substituting,  instead  of  spirit  of 
wine,  a  less  dry  fluid,  such  as  the  oil  of  turpentine. 
Experience  has  set  bounds  to  the  number  of  the  liquids 
proper  for  serving  as  vehicles  in  the  composition  of 
varnish.  The  nature  of  spirit  of  wine  was  suited  to 
light  drying  and  colorless  compositions,  when  artists 
were  desirous  to  correct  the  strong  odor  which  accom- 
panies most  varnishes.  In  examining  the  essential  oils, 
artists  must  have  first  distinguished  those  which,  on  ac- 
count of  their  lightness,  seemed  to  exhibit  intermediate 
qualities  between  spirits  of  wine  and  oils  of  the  greatest 
consistence  ;  hence  the  use  of  oil  of  turpentine,  and  oil 
of  lavender.  Oil  of  turpentine  gives  to  varnish  more 
body  than  spirits  of  wine ;  it  might,  indeed,  be  substi- 
tuted in  all  cases  for  it,  if  the  strong  odor  it  emits  were 
not,  to  some  persons,  a  cause  for  rejecting  it. 


ARTIST    AND    TRADESMAN'S    COMPANION.  17 

For  varnishes  designed  to  be  applied  to  ceilings, 
wainscoting,  and  furniture,  it  is  far  superior,  because  it 
renders  them  equally  brilliant,  and  gives  them  more 
durability.  During  the  summer,  in  particular,  this  odor 
is  soon  destroyed  ;  and  if  the  artist  takes  care  to  em- 
ploy a  spirit  varnish  for  the  last  coat,  there  will  be  no 
odor  at  all.  The  use  of  essential  oil  of  lavender  is 
more  applicable  to  delicate  oil  painting  than  to  the  art 
of  the  varnisher. 

Though  naturally  dryer,  next  to  oil  of  turpentine,  than 
other  essential  oils,  it  is  still  too  fat  and  unctuous  for 
varnishes.  It  may  be  introduced  in  small  quantities  in 
the  composition  of  varnishes  made  with  spirit  of  wine 
and  oil  of  turpentine,  when  it  is  necessary  to  lessen 
their  drying  quality,  or  when  metallic  colors  are  used  in 
the  state  of  pure  oxides.  The  other  essential  oils  known 
in  commerce  are  either  too  dear,  or  too  fat,  or  too  much 
colored,  to  form  part  of  the  liquors  for  the  solution  of 
resins.  The  number  of  fat  or  fixed  oils  useful  to  art  is 
as  much  limited  as  that  of  the  essential  or  volatile  oils. 
Oil  of  white  poppy  seed,  nut  oil,  and  linseed  oil,  are 
the  only  ones  found  by  experience  to  be  fit  for  the  com- 
position of  fat  varnishes,  when  they  have  undergone 
preliminary  preparations  which  deprive  them  of  their 
unctuous  quality,  and  render  them  drying. 

Oil  of  olives,  being  without  much  color,  would  answer 
the  purpose  of  the  artist  better  than  nut  oil  or  linseed 
oil,  which  are  always  colored,  if  it  did  not  possess  an 
unctuous  matter,  which  can  be  removed  only  by  de- 
stroying a  part  of  the  oU  itself     The  case  is  the  same 


18  ARTIST    AND    TRADESMAN'S    COMPANION. 

with  oil  of  turnips  and  oil  of  hemp-seed  ;  and  the  pro* 
cesses  to  which  the  seeds  of  the  beech-tree  are  subjected 
before  the  oil  is  expressed  from  them,  give  it  a  red 
color,  which  renders  it  unfit  for  varnish.  To  judge, 
then,  from  the  results  alone,  varnishes  are  nothing  but 
solutions  of  pure  resins,  or  resinous  gums,  in  an  appro- 
priate spirituous  or  oily  liquid. 

Acid  liquors,  therefore,  and  alkaline  liquors,  though 
the  latter  have  the  property  of  combining  with  oils  and 
with  resins,  and  of  reducing  them  to  the  saponaceous 
state,  are  in  no  case  endowed  with  the  essential  qualities 
requisite  for  the  composition  of  varnishes.  If  saline, 
acid,  and  alkaline  liquors,  considered  as  solvents,  are 
incapable  of  answering  the  views  of  the  varnisher ; 
water,  a  simple  substance,  without  odor,  and  almost 
without  savor,  is  no  less  contrary  to  them.  It  is  the 
nature  of  resins  to  resist  its  action.  Water  also  has 
the  property  of  uniting  with  the  spirit  of  wine,  which 
holds  a  resin  in  solution,  and  of  precipitating  the  latter 
under  the  form  of  a  white  powder.  These  effects  re- 
quire the  most  scrupulous  attention  on  the  part  of  the 
artist,  in  regard  to  the  choice  of  the  spirit  he  intends  to 
employ  in  his  composition. 

The  best  brandy,  and  even  spirit  superior  to  brandy, 
if  of  greater  specific  gravity  than  0-835,  are  unfit  for 
making  varnish.  The  water  which  such  liquors  contain 
IS  an  obstacle  to  the  solution  of  resins  ;  and  it  precipi- 
tates the  resinous  portions  which  the  spirituous  part  has 
been  able  to  dissolve  by  the  aid  of  heat.  The  solution 
is  turbid,  and  difficult  of  clarification.      Some   resina 


ARTIST    AND    TRADESMAN'S    COMPANION.  19 

should  be  washed  before  they  are  employed  in  the  com- 
position of  varnish. 

Mastic,  sandarac,  and  even  copal  itself,  which  is 
divided  into  small  portions,  &c.,  require  previous  wash- 
ing, which  is  attended  by  no  kind  of  inconvenience. 
The  case  would  be  the  same  with  amber,  were  not  this 
precaution  rendered  useless  by  the  process  to  which  it 
is  subjected.  These  resins  are  immersed  in  water  after 
the  fine  powder  has  been  separated  from  them  by  a 
hair-sieve.  The  fragments  and  resinous  tears  are  then 
rubbed  between  the  hands  to  detach  the  dust,  the  lighter 
parts,  and  the  fragments  of  bark.  These  separated 
parts  float  on  the  surface  ;  and,  in  consequence  of  their 
lightness,  afford  the  means  of  removing  them  with 
facility.  The  washed  resin  is  then  spread  out  on  a  piece 
of  linen  cloth,  or  a  hair-sieve,  which  is  covered  with  a 
sheet  of  paper,  and  the  whole  is  exposed  to  a  current  of 
air  to  dissipate  the  moisture. 

Eesins  washed  in  this  manner,  and  well  dried,  are 
much  fitter  for  the  composition  of  varnishes  than  those 
which  have  not  been  subjected  to  the  same  operation. 
A  few  more  precautions  are  still  necessary  in  composing 
delicate  varnishes,  such  as  those  designed  for  valuable 
paintings  and  other  objects  of  luxury.  It  will  be  proper 
to  separate  the  pure  resinous  tears  from  those  which  are 
stained,  or  which  are  accompanied  with  portions  of  the 
bark  of  the  tree  that  produced  them. 

Some  resins  are  much  more  soluble  in  spirit  than 
others.  The  goodness  of  the  varnish  depends  not  only 
on  the  choice  of  the  soluble  matters,  but  also  on  the 


20  ARTIST    AND    TRADESMAN'S    COMPANION. 

state  of  the  liquors  in  which  they  are  to  be  dissolved. 
A  varnish  may  be  of  an  inferior  quality,  though  the 
vehicle  has  dissolved  as  much  resin  as  it  can  take  up. 
The  excellence  of  spirit  of  wine  cannot  be  determined 
merely  by  the  light ;  and  for  this  reason,  the  best  means 
have  been  enlarged  on,  as  a  guide  to  the  artist  and 
amateur  on  this  point,  which  is  of  the  utmost  impor- 
tance. It  may  be  stated,  however,  that  it  is  scarcely 
possible  to  determine  accurately  when  any  fixed  or 
essential  oil  is  quite  pure.  If  an  essential  oil  has  a  fat 
oil  mixed  with  it,  as  the  first  is  usually  soluble  in  recti- 
fied spirit  of  wine — if,  on  being  poured  into  the  spirit, 
it  does  not  dissolve  in  it,  but  makes  the  spirit  foul,  and 
leaves  ultimately  a  gross  sediment,  we  may  be  certain 
that  the  essential  oil  has  been  adulterated. 

But  there  does  not  exist  any  known  method  of  proving 
definitely  when  one  essential  oil  is  mixed  with  another, 
as  is  sometimes  the  case  with  oil  of  lavender,  that  being 
occasionally  deteriorated  with  oil  of  rosemary,  except 
by  its  altered  or  impure  smell ;  nor  is  the  difficulty  less 
with  fat  or  expressed  oils.  If,  however,  an  essential  oil 
is  diluted  with  rectified  spirit  of  wine,  as  it  sometimes 
is,  when  such  diluted  oil  is  poured  into  water,  the  whole 
mixture  will  become  turbid,  and  more  or  less  milky. 

With  these  fiicts  before  us,  such  are  the  guides  in 
which  the  artist  ought  to  place  confidence  in  regard  to 
the  composition  of  varnish  ;  by  these  alone  he  can  hope 
to  obtain  success.  But  whatever  efforts  may  be  made 
to  produce  a  maximum  of  solution  in  the  mixture  of 
the  matters,  he  can  attain  only  to  a  point  of  saturation 


ARTIST  AKD    TRADESMAN  S    COMPANION.  21 

proportioned  to  the  nature  of  the  resins,  and  to  the  pre- 
sent state  of  the  liquors  employed.  The  art,  however, 
is  still  imperfect,  if  the  practical  part  be  confined  merely 
to  the  choice  of  the  substances.  Too  great  a  number 
of  them,  as  well  as  too  great  proportions,  will  disap- 
point the  artist  in  his  expectations.  By  simplifying  the 
compositions,  and  reducing  them  to  a  small  number  of 
substances,  it  is  easier  to  follow  the  effects,  and  discover 
the  causes  of  them  ;  research  then  becomes  less  painful 
and  tedious,  as  well  as  less  expensive. 

A  great  deal  has  been  done  in  this  respect,  and  for  the 
most  part  in  a  wrong  direction ;  but  as  long  as  artists 
were  the  only  guides  and  regulators,  the  success  was 
very  doubtful.  As  a  general  rule,  the  best  rectified 
spirit  of  wine  will  not  dissolve  more  than  a  third  of  its 
weight  of  resinous  substances,  even  when  the  most  so- 
luble are  chosen.  A  boiling  heat  may  cause  the  spirit 
to  dissolve  more,  but  on  the  removal  of  the  heat  the 
varnish  becomes  turbid,  and  some  of  the  resinous  mat- 
ter is  precipitated,  or,  under  the  form  of  a  crystallization, 
lines  the  interior  sides  of  the  vessel. 

Some  of  the  formulse  given  in  the  best  works  still 
prescribe,  in  dry  matters,  a  weight  equal  to  two-thirds 
of  that  of  the  solvent.  The  proportions  indicated  in 
the  different  formulae  given  in  this  work,  are  more  than 
sufficient  for  the  prescribed  quantities  of  liquid,  since 
there  still  remains  a  considerable  part  which  escapes  its 
action.  In  all  cases  the  process  is  less  embarrassing 
and  more  secure  from   those  accidents  which  are  the 


22  ARTIST    AND    TRADESMAN'S     COMPANIOK. 

consequence  of  a  mixture  too  much  charged,  and  which 
forms  a  mass,  and  is  certainly  less  expensive. 

It  may  here  be  remarked,  that  some  resins,  such  as 
gum  sandarac,  copal,  &;c.,  resist  more  than  others  the 
action  of  the  dissolving  fluid.  Copal,  in  particular,  ex- 
hibits this  character.  This  difficulty,  however,  may  be 
overcome,  with  greater  or  less  ease,  by  diminishing  the 
proportions  of  these  substances.  Simple  mechanical 
division,  carried  as  far  as  possible,  and  the  mixture  of  a 
readily  soluble  substance,  such  as  mastic  or  frankincense, 
facilitate  solution  in  a  degree  which  does  not  take  place 
when  the  two  substances  are  treated  separately,  and  in 
the  usual  manner. 

Experience  alone  can  determine  in  regard  to  this 
point.  When  it  is  necessary  to  operate  on  a  considera- 
ble mass  of  matters,  the  form  of  the  vessel  employed 
is  of  some  importance.  Its  capacity  is  not  always 
suited  to  the  quantity  it  is  intended  to  contain.  In  this 
case  the  first  application  of  the  heat  tends  to  agglomerate 
the  resinous  ingredients,  and  thus  thwarts  the  intention 
of  the  artist,  whose  utmost  care  should  be  to  favor  and 
maintain  that  state  of  division  which  promotes  their 
speedy  solution.  This  object  cannot  be  accomplished 
by  simply  stirring,  nor  even  by  employing  broad-bot- 
tomed vessels. 

But  the  consequences  of  this  inconvenience  may  be 
greatly  diminished  by  employing  some  pounded  white 
glass,  which  has  been  sifted  through  a  hair-sieve.  It 
must  be  mixed  with  the  palonized  matter  before  it  is 
united  cold  with  the  spirit  of  wine  or  of  the  oil  of  tur- 


ARTIST    AND    TRADESMAN'S    COMPANION.  23 

pentine ;  and  the  division  of  the  parts  may  still  be 
assisted  by  stirring  it  with  a  rod  of  white  wood,  rounded 
at  the  extremity. 

By  this  simple  mechanism  the  matter  is  kept  in  that 
state  of  division  necessary  for  the  promptitude  and  per- 
fection of  the  solution ;  and  the  tumefaction  of  the 
liquid,  a  circumstance  much  to  be  dreaded  in  the  pro- 
cess of  making  varnishes,  is  prevented.  Besides,  the 
weight  of  the  glass,  which  is  greater  than  that  of  resins, 
makes  it  fall  to  the  bottom  of  the  vessel,  where  it  pre- 
vents the  adhesion  of  the  softened  matters.  It  is  not 
absolutely  necessary  that  white  glass  should  be  used, 
as  green  or  black  bottle  glass  will  answer  the  purpose. 
Clean  coarse  sand,  consisting  chiefly  of  silex,  is  thought 
by  many  to  be  as  good  as  glass.  Some  have  even  pro- 
posed the  use  of  powdered  charcoal.  The  use  of  a 
balneum  marise  is  preferable  to  that  of  a  sand-heat  in 
operations  of  this  kind,  because  the  temperature  of  the 
former  has  a  certain  fixed  point  of  elevation,  which  is 
often  exceeded  in  a  sand-heat ;  and  in  such  a  case,  there 
will  be  great  danger  of  discoloring  the  varnish,  from  the 
application  of  too  great  heat. 

After  the  operation,  more  or  less  of  the  resinous  sub- 
stance remains  mixed  with  the  glass.  This  residuum  may 
be  reserved  for  the  composition  of  common  varnishes, 
which  are  treated  over  an  open  fire.  Where  the  matter 
of  the  composition  does  not  exceed  three  pounds,  an 
hour  and  a  half  will  be,  in  general,  sufficient  to  com- 
plete the  solution  of  the  resins,  provided  that,  during 


24  ARTIST    AND    TRADESMAN'S    COMPANION. 

this  period,  the  water  in  the  balneum  marise  has  been 
kept  in  a  state  of  ebullition. 

The  circular  motion  with  the  stick  must,  however,  be 
still  continued  for  half  an  hour  after  the  vessel  has  been 
removed  from  the  bath.  The  whole  must  then  be  left 
at  rest,  to  give  the  undissolved  matter  time  to  subside. 
Next  day  the  clear  liquor  may  be  decanted,  and  put 
into  proper  vessels.  Some  artists  strain  the  varnish 
while  warm,  through  a  piece  of  linen  cloth,  and  then 
leave  it  at  rest  for  a  few  days  to  clarify.  In  both  cases, 
when  it  is  supposed  that  the  solvent  is  completely 
saturated  with  resin,  it  must  be  left  for  some  days  at 
rest. 

By  a  high  temperature  the  vehicle  becomes  charged 
with  a  greater  quantity  of  the  substances  than  it  can 
retain  when  cold.  The  excess  will  be  precipitated  either 
in  whole  or  in  part,  according  to  the  season.  When  the 
precipitation  is  pretty  extensive,  small  lumps  of  resin 
are  formed  round  the  vessel ;  and  sometimes  the  pre- 
cipitated resin  assumes  a  peculiar  crystallization. 

Sometimes  the  precipitation  is  not  so  evident,  the 
varnish  remaining  a  long  time  turbid,  in  consequence  of 
the  excess  of  resin  continuing  in  a  state  of  solution,  or 
suspension.  When  this  occurs,  add  to  it  a  warm  sol- 
vent, which  will  dilute  the  varnish  a  little ;  or  it  may 
be  filtered  through  cotton. 

The  operation  of  filtering  through  cotton  is  very  sim- 
ple. Arrange  several  funnels  in  as  many  appropriate 
receivers,  as  shown  at  Plate  I.,  Fig.  4,  and  place  in  the 
pipe  of  each  funnel  a  small  ball  of  carded  cotton,  about 


ARTIST    AND   TRADESMAN'S    COMPANION.  25 

one  inch  in  thickness ;  press  this  ball  towards  the  point 
of  the  cone,  to  squeeze  the  cotton  together,  and  place 
over  it  a  small  plate  of  lead  pierced  with  several  holes. 
Till  the  funnels  with  varnish,  and  lay  over  the  vessel  a 
glass  cover,  or  a  few  sheets  of  paper.  Tlie  varnish 
which  passes  through  the  cotton  is  at  first  not  very 
limpid ;  but  when  the  cotton  has  imbibed  a  sufficient 
quantity,  the  liquor  passes  very  clear. 

The  first  portion  of  filtered  varnish  is  then  to  be 
poured  again  into  the  funnels  ;  and  J;he  filtration  being 
continued,  the  result  will  be  a  very  bright  varnish.  This 
filtration,  which  is  soon  performed,  is  indispensably 
necessary  for  every  kind  of  varnish  intended  to  be  ap- 
plied to  delicate  articles,  such  as  cut-paper  works,  valu- 
able furniture,  paintings,  philosophical  instruments,  &c. 
Care  must  be  taken  to  keep  the  funnels  full,  and  par- 
ticularly not  to  leave  the  cotton  uncovered,  else  it  would 
become  encrusted  with  a  stratum  of  dry  varnish,  which 
would  be  likely  to  impede  any  further  filtration.  When 
the  whole  is  filtered,  it  will  be  proper  to  wash  all  the 
vessels  with  spirit  of  wine,  or  warm  oil  of  turpentine, 
according  to  the  nature  of  the  solvent.  The  product  of 
the  washing  may  be  kept  in  reserve  until  a  new  quantity 
of  varnish  is  made. 

Those  who  prepare  varnishes,  make  other  composi- 
tions which  they  intend,  in  general,  for  wainscoting, 
ceilings,  common  furniture,  &c.  Some  prepare  them  in 
open  vessels,  and  in  the  open  air,  in  consequence  of  the 
accidents  which  sometimes  take  place  when  alembics 

are  used.     It  is  much  easier  to  save  a  matter  from  in- 

2 


26  ARTIST    AND    TRADESMAN'S    COMPANION. 

flammation,  which  is  seen  to  rise,  than  one  enclosed  in 
metallic  vessels,  where  its  tumefaction  is  not  observed. 
This  labor  on  the  first  view  appears  to  be  easy.  It 
requires  practice,  though,  and  perseverance  to  obtain  the 
required  result  without  accident,  and  to  quiet  the  well- 
grounded  fears  which  those  in  the  neighborhood  may- 
conceive  of  the  danger  likely  to  arise  from  this  process. 

It  will  be  right  and  proper  to  perform  the  operation 
in  day-time,  and  in  the  middle  of  a  spacious  court  or 
garden.  The  vessel  should  be  furnished  with  high  edges, 
that  the  torrent  of  vapors  which  escape  may  not  com- 
municate with  the  undulating  flame  which  often  extends 
beyond  the  fireplace. 

Care  must  also  be  taken  to  dispose  the  vessel  in  the 
furnace  in  such  a  manner  as  to  cover  the  fire  entirely, 
and  to  prevent  any  portions  of  the  varnish  which  may 
be  thrown  up  by  a  false  movement  of  the  spatula  from 
falling  into  it.  The  precautions  to  be  observed  are  not 
confined  to  the  manipulations  usual  on  such  occasions. 
When  the  solution  is  completed,  it  is  customary  to  de- 
posit the  varnish  in  an  apartment,  or  work-shop,  to  cool, 
and  also  to  give  it  time  to  clarify.  This  apartment 
then  becomes  filled  with  inflammable  vapor,  to  which 
fire  may  be  communicated  by  an  inflamed  body. 

These  vapors  are  the  more  dangerous,  as  they  some- 
times extend  to  a  great  distance,  even  beyond  the  apart- 
ment, so  that  the  contact  of  a  lighted  taper  may  occa- 
sion an  explosion  which  might  ignite  the  evaporating 
substance  itself.  Therefore,  great  care  must  be  taken 
not  to  enter  with  a  candle  into  an  apartment  which  may 


ARTIST    AND    tradesman's    COMPANION.  27 

contain  vapors  so  highly  inflammable.  Although  the 
method  of  making  varnish  in  open  vessels  has  some  ad- 
vantages, it  is  not  free  from  inconveniences.  The  artist 
may  carry  on  his  operation  in  more  security  :  he  can 
easily  prevent  the  tumefaction  of  the  matter,  and,  con- 
sequently, those  accidents  which  result  from  it. 

By  means  of  continued  motion,  he  can  also  supply 
the  means  of  escape  to  the  vapors  in  a  state  of  expan- 
sion ;  and  he  may  renew  the  surfaces  of  the  resin  which 
touch  the  bottom  of  the  vessel,  and  which,  by  Tieing 
altered,  might  discolor  the  varnish. 

This  is  the  favorable  side  of  the  method ;  but  the 
reverse  must  also  be  exhibited.  This  process  occasions 
a  very  great  loss  of  spirit  of  wine,  or  oil  of  turpentine, 
in  consequence  of  the  vapors  which  rise  from  the  mass. 
The  vapors,  it  must  be  recollected,  are  the  purest  part, 
and  contribute  most  to  the  excellence  of  the  varnish — to 
its  pliability  and  lustre.  The  effect  which  the  constant 
vapor  of  the  oil  of  turpentine  may  produce  on  the 
nerves  of  the  artist  exposed  to  it,  ought  also,  if  possi- 
ble, to  be  avoided. 

However  great  may  be  the  precautions  taken  in  pro- 
cesses of  this  kind,  as  they  have  not  always  been  suffi- 
cient  to  prevent  serious  accidents,  this  is  sufficient  to 
justify  the  fears  of  individuals  who  reside  in  the  neigh- 
borhood of  the  varnisher,  and  to  excite  the  vigilance  of 
the  city  authorities  to  confine  to  the  outskirts  all  estab- 
lishments of  this  kind.  It  is,  therefore,  considered  a 
duty  to  obviate,  or  lessen,  by  improving  the  form  of  the 
vessels  and   apparatus  in  the  making  of  varnish,  th^ 


28  ARTIST    AND    TRADESMAN'S    COMPANION. 

dangers  to  which  the  varnish-maker,  as  well  as  tne  com- 
munity, is  exposed.  To  do  this  to  a  good  advantage,  it 
will  be  requisite  to  give  here  a  list  of  instruments,  &c., 
necessary  in  the  art  of  the  varnish-maker.  The  premises 
of  the  varnish-maker  must  be  accompanied  with  a  court 
or  yard  for  the  preparation  of  the  varnishes,  in  order 
that  he  may  be  protected,  as  well  as  his  neighbors,  from 
the  damage  which  may  be  occasioned  by  negligence  or 
other  causes.  Liquid  varnishes  require  to  be  kept  in 
glass  or  stone  ware.  Varnishes  should  be  kept  in  large, 
strong  black  bottles,  with  a  wide  mouth,  for  the  conve- 
nience of  taking  them  out ;  but  as  light  has  a  powerful 
influence  on  them,  and  renders  them  thick,  it  is  recom- 
mended that  the  bottles  be  wrapped  in  sheep's  skin  or 
parchment,  folding  it  round  the  neck,  and  tying  it  with 
several  turns  of  pack-thread. 

This  addition  is  attended  with  the  double  advantage 
of  guarding  against  the  action  of  light,  and  of  prevent- 
ing those  accidents  which  result  from  percussion.  Dry- 
ing oils  are  less  delicate  than  varnishes  made  with  spirit 
of  wine  or  oil  of  turpentine.  They  may  be  preserved 
exceedingly  well  in  stone-ware  jars,  in  large  bottles,  or 
in  leaden  vessels,  with  a  wide  mouth. 

Leaden  vessels  are  not  liable  to  those  accidents  which 
are  most  to  be  apprehended  ;  and  if  this  advantage  be 
not  sufficient  to  cause  them  to  be  preferred,  they  pos- 
sess another  well-known  and  consistent  theory,  which  is, 
that  they  add  to  the  drying  quality  of  the  varnish.  Var- 
nishes are,  however,  in  the  large  way,  generally  kept  in 
earthen  bottles,  made  of  what  is  called  stone-ware,  or 


ARTIST    AND    TRADESMAN'S    COMPANION.  29 

in  a  large  black  glass  bottle  packed  with  straw  in  a  bas- 
ket, and  usually  denominated  a  carboy.  A  table,  weights, 
and  scales,  are  all  the  utensils  necessary  for  the  work- 
shop of  the  varnish-maker.  The  expense  of  fitting  up 
a  laboratory  to  furnish  articles  for  common  consump- 
tion, will  be  very  small.  The  instruments  indispensably 
necessary  are  :  An  alembic,  constructed  according  to  the 
principles  explained  in  this  work,  with  a  refrigerator, 
and  portable  furnace. 

Should  the  operator  not  choose  to  go  to  the  expense 
of  the  alembic,  and  the  rest  of  the  apparatus  elsewhere 
spoken  of,  a  succedaneum  may,  in  some  degree,  be  found 
for  them  in  a  sand-bath  or  sand-heat,  and  the  use  of  re- 
torts, under  suitable  precautions.  A  sand-heat  is  usually 
formed,  in  the  large  way,  of  an  oblong  shape,  having 
bricks  and  mortar  for  its  walls,  plates  of  iron  upon 
which  to  lay  sand,  and  around  the  top  a  ledge,  of  about 
six  or  eight  inches  deep,  of  free-stone,  to  retain  the  sand ; 
beneath  the  plates  of  iron  is  a  wide  flue,  at  the  bottom 
of  which  is  iron  grating,  and  upon  which  grating  is  laid 
the  fire ;  the  fire  is,  of  course,  when  kindled,  enclosed 
by  a  door,  as  in  other  furnaces,  at  the  end  of  the  sand- 
heat  ;  the  flue  communicates  with  a  chimney  to  carry 
oflT  the  smoke. 

The  sand  is  commonly  of  the  depth  of  six  or  eight 
inches ;  but  the  quantity  and  depth  of  it  must  depend 
upon  the  size  of  the  vessels  immersed  in  it.  A  retort 
scarcely  needs  to  be  described :  it  is  usually  made  of 
green  or  other  glass,  and  may  be  made  to  hold  from  a 
pint  to  eight  or  more  gallons.     It  has  a  long,  narrow 


30  ARTIST    AND    TRADESMAn'r    COMPANION. 

neck,  which  is  so  bent  that,  when  the  retort  is  placed 
with  its  contents  in  the  sand,  it  has  a  gentle  inclination, 
and  will  conduct  whatever  liquid  is  condensed  in  it  into 
a  glass  receiver,  which  is  placed  on  a  bench  beside  the 
sand-heat ;  the  receiver  is  luted  to  the  neck  of  the  retort 
either  by  a  wet  bladder-skin,  which  is  the  neatest  way, 
or  by  some  other  lute.  A  variety  of  chemical  processes 
are  thus  conducted  :  the  vapor  raised  by  the  beat  being 
condensed  in  the  neck  of  the  retort,  and  cooled  down  in 
the  receiver,  (which  is  usually  about  the  size  of  the 
retort)  by  the  large  surface  which  it  presents  to  the 
air. 

But  this  simple  process  will  not  be,  in  general,  ade- 
quate to  the  preparation  of  spirit  varnish  ;  for  the  va- 
pors rise  so  soon,  and  their  expansion  is  so  great,  that 
an  explosion  may  often  occur.  If  a  glass  tube  be 
adapted  to  the  neck  of  the  retort,  the  receiver  removed 
to  a  greater  distance  from  the  fire,  and  the  tube  inserted 
into  it,  and  if  over  the  tube  is  placed  a  vessel  of  cold 
water,  having  a  cock  at  its  bottom,  which  may  be  made 
to  drop  the  water  gradually  on  the  tube,  and  thus,  by 
its  evaporation,  condense  the  vapors  of  the  spirit  within, 
a  succedaneum  for  the  alembic  may,  in  some  degree,  be 
found. 

This  process  is  generally  adopted  in  the  preparation 
of  ether,  and  for  that  answers  very  well.  A  portable 
sand-heat  may  consist  of  an  iron  pot,  in  which  the  sand 
is  placed,  and  the  pot  may  be  made  to  suit  an  ordinary 
furnace.  A  few  bottles  for  receivers,  that  are  of  a  pretty 
'arge  size,  with  different  funnels  of  glass  and  of  tin 


ARTIST   AND    TRADESMAN'S    COMPANION.  31 

plate.  Two  or  three  copper  basins  of  difturent  sizes, 
iiCCfrding  to  the  extent  given  to  the  establishment. 
Vessels  of  earthen-ware,  to  receive  the  varnish,  which 
is  strained  through  a  cloth,  and  to  contain  the  first  de- 
posite.  Pieces  of  board,  of  the  same  diameter  as  the 
earthen  vessels,  to  serve  them  as  covers.  They  are 
more  convenient,  and  not  liable  to  be  broken  like  the 
earthen-ware  ones  frequently  employed. 

Large  glass  jars,  furnished  with  funnels,  filtering  the 
varnishes  of  the  first,  second,  and  third  order,  as  de- 
scribed in  the  course  of  this  w  ork.  A  cast-iron  pot, 
polished  in  the  inside,  and  furnished  with  a  cover,  for 
mading  varnish  of  the  fifth  order.  Different  spatulas 
of  wood,  rounded  at  the  end.  A  shovel  and  pair  of 
tongs.  Two  or  three  furnaces  of  different  diameters, 
and,  in  particular,  a  small  one,  with  a  sand-bath.  A 
small  iron-hooped  tub,  with  handles,  to  contain  char- 
coal. 

An  iron  capsule,  or  small  vessel,  with  a  short  handle, 
to  take  out  the  charcoal.  Some  glass  matrasses,  of 
different  sizes,  for  the  immediate  preparation  of  alco- 
holic varnish,  which  are  effected  by  immersing  the  ma- 
trass in  a  basin,  the  water  of  which  is  raised  to  differ- 
ent degrees  of  heat  up  to  that  of  ebullition. 

A  fi.\*ed  table,  some  small  tables,  and  a  few  boxes. 
A  small  quantity  of  white  lead  paint  mixed  in  linseed 
oil,  for  the  purpose  of  applying  to  burns,  which  should 
be  rolled  out  thin  and  laid  on  the  burnt  surface,  and 
then  wrapped  in  cloth,  to  prevent  the  more  s«."ious  con- 
sequences of  burns  that  might  otherwise  follow.     An 


32  ARTIST    AND    TRADESMAN'S    COMPANION. 

iron  mortar,  of  from  twelve  to  fifteen  inches  in  diame- 
ter, with  an  iron  pestle. 

Pencils  and  brushes  of  different  kinds.  In  regard  to 
those  designed  for  varnish,  washing  in  spirit  of  wine,  or 
oil  of  turpentine,  as  the  case  may  be,  will  restore  them 
to  a  clean  state.  If  the  varnish  has  been  suffered  to 
dry  on  or  between  the  hairs  of  the  brush,  a  few  strokes 
of  the  hammer  or  mallet  will  pulverize  and  separate 
the  resin,  and  thus  restore  the  brush  to  its  ordinary 
softness. 

Athough  these  constitute  the  chief  articles  necessary 
in  the  work-shop  of  the  varnish-maker,  there  are  others 
which  ingenious  artists  may  find  of  service,  and  if  so, 
they  should  not  hesitate  to  use  them. 

Of  an  Alembic,  or  Still,  suitable  for  the  manufacture  of 

Varnish. 

The  solution  of  resins  cannot  be  rendered  complete, 
in  the  common  alembic,  or  still,  so  that  those  accidents 
which  arise  from  the  agglomeration  of  the  resins,  and 
particularly  from  an  accumulation  of  confined  vapor, 
can  at  the  same  time  be  prevented  ;  for  the  matters  be- 
coming tumefied,  raise  up  the  capital,  and  spread  with 
an  explosion  to  the  fire,  often  even  to  the  artist,  and  iu 
this  manner  occasion  conflagrations. 

One  of  the  results  from  the  use  of  the  common  alem- 
bic, is  the  discoloration  of  the  varnish,  in  consequence 
of  an  alteration  which  the  resins  undergo,  by  adhering 
to  the  bottom  of  the  vessel.     These  effects  would  not 


ARTIST    AND    TRADESMAN'S    COMPANION.  33 

take  place  if  the  construction  of*  the  alembic  afforded 
the  means  of  maintaining  a  circular  motion,  which  would 
change  the  points  of  contact  of  the  enclosed  matters ; 
and  if,  instead  of  fire  being  applied  immediately,  as  is 
the  case  \vhen  a  balneum  mariae  is  employed.  These 
two  conditions  appear  to  be  answered  by  the  construc- 
tion of  the  apparatus  described  in  Plate  II.,  Fig.  1.  It 
is  an  alembic  and  a  balneum  mariae  with  a  refrigerator. 
It  consists,  first,  of  a  common  alembic ;  second,  a  bal- 
neum mariee  ;  third,  a  capital ;  fourth,  another  separate 
piece,  which  performs  the  office  of  a  refrigerator,  and 
which  is  adapted  to  the  alembic  at  the  moment  of  the 
operation.  The  alembic  a,  Fig.  1,  is  of  copper,  and 
made  in  the  usual  form  ;  the  aperture,  6,  terminates  in 
a  tube,  intended  to  receive  the  pipe  of  a  funnel,  for  the 
purpose  of  affording  an  escape  to  the  vapors  which  arise 
from  the  water  in  a  state  of  ebullition. 

This  piece  then  serves  as  a  receptacle  for  the  water  of 
the  balneum  marias.  To  this  alembic  is  adapted  the 
balneum  marise,  c,  made  either  of  tin  or  copper  :  it  has 
the  same  form  as  that  of  the  common  alembics,  and 
serves  to  contain  the  substances  which  are  to  compose 
the  varnish.  The  bottom  of  it  is  horizontal,  perfectly 
flat,  and  about  an  inch  less  in  diameter  than  the  mouth. 

The  upper  part  of  this  piece  is  strengthened  by  a 
circular  band,  which  serves  to  cover  the  joining  where 
the  capital  is  fitted  to  the  alembic.  To  save  expense, 
this  circular  band  may  be  made  of  lead.  The  diameter 
of  the  capital,  d,  at  the  base,  is  proportioned  to  that  of 
the  balneum  maria?,  in  such  a  manner  as  to  join  with 


34  ARTIST    AND    TRADESMAN'S    COMPANION. 

the  circular  band.  This  piece  terminates  in  a  dome, 
which  at  the  summit  has  a  pipe  or  aperture,  f,  half  an 
inch  in  diameter.  A  metallic  bar,/,  Fig.  2,  soldered  at 
the  two  extremities,  and  pierced  with  a  hole  correspond 
ing  in  a  vertical  direction  with  the  aperture,  e,  and  having 
the  same  diameter,  passes  through  the  middle  of  the 
lower  end  of  the  capital. 

These  two  apertures  are  to  keep  in  an  exact  vertical 
position  a  small  rod  of  iron,  g,  connected  on  the  outside 
with  the  handle,  h,  which  is  of  wood,  and  movable.  The 
lower  part  of  this  rod,  which  is  continued  to  the  bottom 
of  the  balneum  mariae,  is  furnished  with  an  iron  cross,  i, 
cut  into  teeth,  while  its  two  extremities  are  raised  up, 
as  seen  at  k :  the  lower  part  represents  an  inverted  j,, 
as  seen  at  Fig.  2  and  3.  In  the  upper  part  of  the  capi- 
tal, d,  is  formed  a  second  aperture,  I,  which  terminates 
also  in  a  tube,  capable  of  containing  a  cock-stopper. 
This  aperture  is  for  the  re-introduction  of  the  parts  of 
the  liquid  obtained  by  distillation.  A  conducting  tube, 
m,  the  diameter  of  which  is  twice  as  large  as  that  of  the 
beak  of  common  alembics,  taking  into  account  their 
capacity,  proceeds  from  one  of  the  sides  of  the  alembic. 

It  is  by  this  canal,  which  is  made  of  sufficient  length, 
and  which  is  of  an  equal  diameter  throughout,  that  the 
refrigerator,  n,  is  connected  with  the  alembic^  The  re- 
frigerator, n,  is  constructed  in  such  a  manner  as  to  afford 
a  free  passage  to  those  matters  which  might  become 
tumefied,  or  to  condense  the  vapors  which  escape  from 
the  interior  part  of  the  vessel.  Both  these  ends  may 
be  accomplished  by  means  of  a  plain  wooden  box,  well 


ARTIST    AND    TRADESMAN'S    COMPANION.  35 

joined  together,  of  an  oblong  figure,  through  which  a 
tube,  0,  made  of  copper,  tin,  or  tin-plate,  passes  in  an 
oblique  direction. 

This  tube,  throughout  its  whole  length,  is  of  the  same 
diameter  as  that  which  proceeds  from  the  capital,  and  is 
only  a  continuation  of  it.  When  used,  the  box  or  trough 
is  filled  with  cold  water.  Tlie  extremity  of  this  tube 
terminates  in  a  bent  part,  j9,  of  the  same  diameter  as 
the  rest.  Under  this  part  is  placed  the  vessel,  q,  in- 
tended to  receive  the  product  of  the  condensed  vapors, 
and,  in  case  of  need,  the  matters  which  may  be  raised 
in  the  interior  part  of  the  apparatus,  by  the  effect  of  the 
heat,  or  in  consequence  of  the  consistence  which  the 
liquid  acquires  in  this  kind  of  operation,  or  by  the  neg- 
ligence of  the  artist  to  stir  it  during  the  process.  This 
alembic  is  placed  on  a  portable  furnace  of  burnt  clay,  r, 
or  on  a  fixed  furnace  constructed  of  bricks,  or  other  ma- 
terials :  it  ought  not  to  be  too  high,  lest  the  artist  should 
be  incommoded  in  managing  the  handle,  h. 

It  has  the  same  form  as  other  furnaces,  and  is  only 
modified  in  the  manner  of  placing  the  chimneys,  or 
vent-holes,  which  ought  to  be  so  disposed  as  to  be  shel- 
tered from  the  contact  of  the  inflammable  matters  that 
may  fall  on  the  edge  of  the  furnace.  This  end  may  be 
obtained  by  making  the  apertures  of  these  chinmeys 
issue  through  the  sides  of  the  furnace,  at  the  distance  of 
two  or  three  inches  from  the  upper  edge,  and  forming 
over  each  of  them  a  small  projection.  The  same  pur- 
pose will  be  answered  by  placing  on  a  common  furnace 


36  ARTIST    AND    TRADESMAN'S    COMPANION. 

a  ring,  the  edge  of  which,  s,  extends  about  an  inch  be- 
yond the  exterior  diameter  of  the  furnace. 

This  ring  supports  the  alembic.  It  may  be  made  out 
of  burnt  clay,  or  of  soft  stone.  Distillation  is  a  process 
so  common  that  any  one  may  conduct  it ;  but  when  ap- 
plied to  the  present  object  it  requires,  on  the  part  of  the 
artist,  more  attention  and  care  than  in  ordinary  cases. 
The  following,  then,  is  the  conduct  which  should  be  ob- 
served in  the  preparation  of  varnish,  according  to  the 
method  here  proposed.  When  the  matters  are  put  into 
the  balneum  marine,  cover  that  part  with  its  capital,  and 
cause  the  agitator  to  touch  the  bottom  of  it.  Lute  the 
two  parts  exactly,  at  the  place  where  they  are  united, 
with  bands  of  paper  and  flour  paste.  Then  make  a  few 
turns  with  the  handle  before  heat  is  applied,  to  divide 
the  matter  ;  keep  the  tube,  b,  of  the  alembic  open,  and 
shut  closely  the  tube,  c.  Adapt  the  refrigerator  to  the 
alembic,  and  cement  a  few  slips  of  paper  over  the  place 
where  the  two  vessels  are  joined  ;  introduce  into  the 
alembic  such  a  quantity  of  water  that  the  body  of  the 
balneum  marise  may  be  half  immersed  in  it,  and  then 
kindle  the  fire.  It  is  of  some  importance  to  move  the 
agitator  at  the  moment  when  the  fire  is  kindled. 

If  this  precaution  be  neglected,  the  resinous  matter 
forms  itself  into  a  mass,  and  in  that  state  opposes  more 
resistance  to  the  action  of  the  vehicle.  Continue  the 
rotary  motion  during  the  whole  process,  but  without 
too  much  precipitation.  The  solution,  to  be  complete, 
requires  only  an  hour,  or  an  hour  and  a  half,  reckoning 
"-om  the  moment  when  the  water  begins  to  boil.     If 


ARTIST    AND   TRADESMAN'S    COMPANION.  37 

the  level  of  the  water  employed  be  fixed  at  half  the 
interior  height  of  the  balneum  marise,  or  a  little  higher, 
the  inconveniences  attending  too  great  a  quantity  of 
those'liquids  will  be  avoided.    " 

By  the  force  of  ebullition,  part  of  it  is  thrown  up 
through  the  tube,  and  often  incommodes  the  operation  ; 
but  there  is  still  a  greater  inconvenience.  When  the 
balneum  marise  is  thus  completely  surrounded  by  the 
boiling  liquid,  the  vapor  of  which  has  not  the  means  of 
free  escape,  the  spirit,  which  becomes  hotter  as  it  ac- 
quires greater  density,  in  the  ratio  of  its  union  with  the 
resinous  part,  tumefies,  and  escapes  as  it  boils  up  through 
the  apertures  which  it  meets  with  ;  and  if  it  should  un- 
fortunately experience  the  least  obstacle  to  its  forced 
emission,  it  would  burst  the  vessel,  and  inundate  the 
artist  with  matters,  which,  being  soon  inflamed  by  their 
vapors  coming  into  contact  with  those  that  fall  into  the 
fire,  would  expose  him  to  the  danger  of  losing  his  life 
in  the  most  excruciating  agony,  as  has  often  happened. 

If  the  kind  of  alembic  here  described  were  designed 
for  various  other  uses,  like  those  in  chemical  laboratories, 
there  might  be  reason  to  apprehend  the  effects  of  some 
negligence  in  regard  to  the  care  that  ought  to  be  taken 
to  keep  tube,  b,  open,  when  the  distillation  is  carried  on 
with  a  balneum  marise,  and  to  close  it  with  a  stopper 
when  distilling  with  an  open  fire,  that  is,  without  a  bal 
neum  marise.  For  the  present  purpose,  there  is  never 
need  of  employing  this  alembic  on  an  open  fire  ;  con- 
sequently  the  artist  is  not  under  the  necessity  of  shutting 


38  ARTIST   AND    TRADESMAN'S    COMPANION. 

the  tube,  and  by  these  means  he  avoids  those  accidents 
beforehand. 

In  the  contrary  case,  the  vapors  of  the  boiling  water 
being  accumulated,  and  finding  no  way  of  escape,  would 
soon  burst  the  apparatus,  or  would  exercise  a  stili  greater 
action  on  the  matters  in  the  bath  than  if  the  alembic 
were  filled  with  boiling  water. 

In  proportion  as  the  heat  acts  on  the  substances  in- 
closed in  the  balneum  mariae,  it  unites  itself  to  portions 
of  the  vehicle,  which  it  reduces  to  vapor.  A  part  of 
these  vapors  are  condensed  in  the  inside  of  the  capital, 
and  fall  back  on  the  matter.  Another  part,  escaping 
from  the  interior  of  the  apparatus,  is  condensed  in  the 
lateral  tube,  which  traverses  the  refrigerator,  and  pro- 
ceeds in  a  liquid  form  into  the  receiver. 

This  product  is  composed  of  the  most  volatile  and 
most  subtile  part  of  the  liquid  employed  for  the  solu- 
tion. This  loss,  if  considerable,  diminishes  the  power 
of  the  alcohol  not  volatilized  ;  in  a  word,  the  quality  of 
the  varnish  would  suffer  by  it,  if  the  product  of  the 
distillation,  when  a  certain  quantity  is  collected,  were 
not  restored  to  the  mass.  The  aperture,  c,  is  then 
opened,  and  a  funnel  of  tin-plate  is  adapted  to  it, 
through  which  the  liquor  that  has  escaped  in  the  form 
of  vapors  is  returned  to  the  varnish.  The  cork-stopper 
is  again  put  in  its  place  ;  and  the  circular  motion  of  the 
agitator  is  continued. 

It  is  needless  to  recommend  the  greatest  care  that  no 
portion  of  the  liquid  introduced  may  be  suffered  to  fall 
into  the  furnace :  operators  must  be  aware  of  the  bad 


ARTIST    AKD    TRADESMAN'S    COMPANION.  39 

consequences.  Several  compositions  require  the  use  of 
turpentine ;  but  it  must  not  be  put  into  the  bath  at  the 
same  time  as  the  resins,  because  it  would  combine  with 
the  spirit,  and  prevent  it  from  exercising  the  requisite 
energy  on  the  other  substances.  The  mixture  of  it 
must,  therefore,  be  deferred  till  towards  the  end  of  the 
process.  It  may  be  easily  added,  by  first  melting  it 
over  a  slow  fire,  and  introducing  it  in  the  same  manner 
as  the  product  of  the  distillation. 

A  portion  of  the  same  distilled  alcohol  should  be  re 
served  for  washing  the  vessel  which  contained  the  tur- 
pentine, and  the  funnel  which  has  been  employed.  When 
it  is  judged  that  the  solution  of  the  resinous  matters  is 
finished,  the  whole  of  the  fire  must  be  removed  from  the 
furnace,  and  the  circular  motion  of  the  agitator  continued 
hv  half  an  hour,  leaving  some  intervals  of  rest.  When 
the  apparatus  has  in  some  measure  cooled,  a  sponge 
dipped  in  water  may  be  drawn  over  the  pieces  of  paptr 
which  cover  the  joints,  and  they  are  then  to  be  removed 
as  well  as  the  capital,  which  has  been  separated  from 
the  refj'igerator. 

The  varnish,  being  then  decanted  into  proper  vessels, 
it  may  be  strained  through  a  piece  of  dry  linen,  or  fil- 
tered through  cotton.  This  operation  should  be  per- 
formed in  daytime,  lest  the  inflammable  vapors  which 
may  escape  should  be  set  on  fire  by  candles.  The 
person  who  undertakes  this  operation,  with  the  precau- 
tions pointed  out,  will  always  be  secure  from  those 
accidents  which,  in  this  process,  are  attended  with  such 
terrible  effects.     It  must  always  be  remembered  that 


40  ARTIST    AND    TRADESMAN'S    COMPANION. 

spirituous  varnishes  should  never  be  prepared  in  larger 
quantities  than  may  be  required  for  immediate  use,  be- 
cause they  do  not  long  retain  those  qualities  which  ren 
der  them  valuable. 

They  should  also  be  kept  in  well-stopped  vessels, 
much  of  the  spirit  escaping  from  them  quickly  when 
exposed  to  the  air.  When  too  long  kept,  they  become 
yellow  and  greasy.  In  this  respect  they  are  very  dif- 
ferent from  oil  varnishes,  which  improve  by  time. 

In  regard  to  the  heat  imparted  by  steam,  in  the  pre- 
paration of  varnish,  it  is  necessary  that  the  operator 
should  exercise  the  greatest  caution,  otherwise  much 
damage  may  be  done  ;  and  on  no  occasion  let  it  be 
attempted  by  any  except  those  who  fully  understand 
their  business. 

Most  of  the  resins,  when  pure,  may  be  mixed  by  a 
careful  application  of  heat  with  spirit  of  wine,  in  various 
proportions.  Thus  shellac  may  be  mixed  with  rectified 
spirit  of  wine,  so  as  even  to  retain  a  considerable  degree 
of  hardness,  in  addition  to  its  tenacity,  and  forming  the 
best  sealing-wax,  with,  of  course,  vermilion,  and  a  cer- 
tain quantity  of  camphor — the  camphor  being  added  in 
order  to  make  the  wax  burn  well,  on  which  its  quality 
as  sealing-wax,  in  addition  to  its  tenacity  and  color,  de- 
pends. So  also,  if  a  spirit  varnish  happen  to  be  exposed 
to  the  air,  it  soon  becomes  a  thick  balsam,  and  only 
requires  the  addition  of  spirit  of  wine  to  give  it  the 
ordinary  limpidity.  It  is,  therefore,  evident,  that  red 
spirit  varnish  may  be  made  with  the  same  ingredients 
which  constitute  red  sealing-wax,  by  varying  the  pro- 


ARTIST    AND    TRADESMAN'S    COMPANION.  41 

portions  of  the  spirit  of  wine.  As  this  red  varnish  may 
interest  some  persons,  an  excellent  formulas  for  red  seal- 
ing-wax is  here  given,  and  when  it  is  wanted  to  be  en;,- 
ployed  as  varnish,  nothing  more  is  necessary  than  to 
add  a  larger  quantity  of  rectified  spirit  of  wine. 

It  must  not  be  forgotten,  though,  that  the  specific 
gravity  of  the  vermilion  being  much  greater  than  the 
other  ingredients,  if  the  varnish  be  made  thin,  the  ver- 
milion will  necessarily  be  precipitated,  thus  injuring  the 
quality  of  the  varnish.  The  red  sealing-wax  is  made 
thus  :  Take  of  Venice  turpentine  2  pounds  ;  camphor,  4 
ounces ;  vermilion,  1^  pound ;  rectified  spirit  of  wine, 
16  ounces.  Dissolve  the  camphor  first  in  the  spirit  of 
wine,  in  a  suitable  vessel,  over  a  slow  fire,  taking  care 
that  no  flame  touches  the  evaporating  spirit ;  then  add 
the  shellac ;  and  when  that  has  become  of  a  uniform 
smoothness,  by  a  moderate  application  of  heat,  add  the 
turpentine,  and  lastly  the  vermilion,  which  should  be 
passed  through  a  hair-sieve  over  the  melted  mass,  in 
order  that  it  may  not  get  into  clots. 

When  the  whole  is  well  incorporated,  it  is  ready  to 
be  formed  into  sticks  of  whatever  size  may  be  desired. 
It  may  be  added,  that  it  is  usual  to  weigh  out  the  soft 
wax  into  balls,  and  roll  them  on  a  mahogany  table  into 
the  lengths  desired,  and  then  to  flatten  them  by  pressure. 

They  are  polished  by  being  held  over  charcoal-fire  in 
a  chaffing-dish,  then  drawn  over  a  piece  of  mutton  suet, 
or  tallow  candle,  and  rubbed  with  a  piece  of  soft  leather. 

Black  sealing-wax  is  made  in  a  similar  manner  ;  but, 
instead  of  vermilion,  lamp-black  is  employed.     Black 


42  ARTIST    AND    TRADESMAN'S     COMPANION. 

resin  is  also  often  used  in  about  one-third  the  quantity 
of  the  shellac,  as  follows  : 

Rectified  spirit  of  wine,  8  ounces. 
Camphor,      ....     1  ounce. 

Shellac, 2^  pounds. 

Black  resin,  ....     1^  pounds. 
Lamp-black,  ....  4  ounces. 

Dissolve  the  camphor  in  the  rectified  spirit  of  wine, 
then  add  the  shellac,  to  which  pour  the  resin  previously 
melted,  and  mixed  with  the  oil  of  turpentine,  using,  of 
course,  a  moderate  heat,  and  taking  care  that  no  flame 
touches  the  melting  matters. 

Such  forms  may  be  varied  to  almost  any  extent ;  and 
it  is  also  obvious  that  a  black  and  very  useful  varnish 
may  be  made  by  adding  at  pleasure  either  spirit  of 
wine  or  oil  of  turpentine,  as  may  suit  the  taste  or  in- 
terest of  the  varnisher.  But  if  lamp-black  be  employed 
in  such  forms  for  varnish,  it  will  be  desirable  to  burn  it 
before  it  is  mixed  with  the  ingredients  for  a  black  var- 
nish. It  may  be  useful,  too,  to  observe  here,  that  the 
Venice  turpentine,  when  employed  as  above  for  red 
varnish,  should  not  contain  a  fixed  oil,  unless  it  has 
been  previously  made  drying  by  some  of  the  processes 
described  in  another  part  of  this  work. 

The  following  formulae  are  almost,  if  not  quite,  equal 
to  any  foreign  Venice  turpentine  which  may  possibly  be 
obtained,  and  are  well  calculated  for  mixing  with  most 
of  the  formulce  described  in  the  course  of  this  work,  and 
are  well  worthy  the  consideration  of  the  artist : 


ARTIST    AND    TRADESMAN'S    COMPANION,  43 

Take  of  Frankincense,  .     .     .     .     3^  pounds. 
Oil  of  turpentine,  ...  2^  pints. 

Melt  first  the  frankincense  over  a  moderate  fire,  then 
add  gradually  the  oil  of  turpentine,  and  strain  the  whole 
through  a  hair-sieve  ;  or, 

Take  of  Black  resin, 8  ounces. 

Oil  of  turpentine,    ...  8  ounces. 
Melt  first  the  resin,  and  add  carefully  afterwards  the 
oil  of  turpentine  ;  or, 

Take  of  Linseed  oil, 1  pint. 

Frankincense, 8^  pounds. 

Oil  of  turpentine,    ...     1^  pint. 

Melt  and  mix  as  before,  taking  care  that  the  oil  of 
turpentine  and  linseed  oil  have  been  previously  mixed. 
In  this  last  form,  the  varnish-maker  should  be  careful  to 
employ  a  linseed  oil  which  has  been  previously  rendered 
drying.  A  few  general  observations  may  be  made  in 
regard  to  "  turpentine  varnishes."  When  such  a  var- 
nish is  wanted,  without  any  regard  to  its  tenaciousness 
when  dry,  the  first  preparation,  as  Venice  turpentine 
above,  becomes  a  very  good  varnish  :  if  it  should  prove 
rather  too  thick,  it  may  be  readily  made  thinner  by  the 
addition  of  oil  of  turpentine.  But  if  a  varnish  of  a 
light  color  be  wanted,  united  also  with  some  tenacity, 
the  last  preparation  fur  Venice  turpentine  will  be  found 
the  best.  The  forms  for  turpentine  varnish  may  be 
multiplied  without  end  ;  but  from  what  has  been  said, 
the  artist  will  know  how  to  vary  them  to  suit  his  in 


44  ARTIST    AND    TRADESMAN'S    COMPANION. 

merest,  his  taste,  and   the  permanence  of  his  workman- 

ship. 

French  Polish,  is  made  in  the  following  manner  : 

Take  of  Seed-lac, 6  ounces. 

Gum  juniper,      .     .     .     .  H  ounce. 
Rectified  spirit  of  wine,        32  ounces. 
Gum  mastic,     ....     1  ounce. 

All  the  ingredients  should  be  first  reduced  to  a  coarse 
powder,  and  then  mixed  with  the  rectified  spirit  of  wine, 
in  a  vessel  which  will  contain  double  the  quantity,  in 
order  that,  on  being  exposed  to  the  moderate  heat  of  a 
sand-bath,  or  other  moderate  heat,  room  may  be  given 
for  the  expansion  of  the  spirit  without  bursting  the 
vessel.  The  mixture  should  be  well  shaken,  at  least 
once  a  day,  taking  care  at  the  same  time  to  loosen  the 
cork  during  the  shaking ;  a  few  days  will  be  sufficient 
to  dissolve  the  resins. 

The  application  of  this  polish  is  too  ^ell-Tvnown  to 
every  one  conversant  with  furniture,  and  therefore  need 
not  be  here  described.  Some  persons  order  equal  quan- 
tities of  shellac  and  seed-lac  ;  but  for  this  variation  there 
can  be  no  necessity  ;  indeed,  where  brightness  of  color 
is  wanted,  the  seed-lac  is  undoubtedly  to  be  preferred  ; 
but  when  seed-lac  cannot  be  had,  shellac  may  be  em 

ployed. 

Two  methods  of  freeing  lac-varnish  from  the  reddish 
brown  color  which  is  natural  to  it,  are  resorted  to.  One 
consists  in  dissolving  the  lac  in  rectified  spirit  of  wine, 
and  then  destroying  the  color  by  repeated  and  careful 


UlTIST  AND    tradesman's    COMPAKION.  45 

additions  of  chlorine  in  vapor,  and  of  chloride  of  potash. 
The  other  method  is  to  add  to  a  solution  of  lac  in  recti- 
fied spirit  of  wine,  animal  charcoal,  bj  which  the  same 
result  is  obtained. 

Balsam  of  capivi,  or  copaiva,  has  been  used  as  a  sim- 
ple varnish  :  it  answers  the  purpose  very  well,  but  is 
not,  perhaps,  better  than  good  turpentine. 

Artijicial  Asphaltum. — Coal  tar,  by  gentle  evapora- 
tion, assumes  the  appearance  of  mineral  pit<;h,  and  at 
last,  by  a  combination  of  the  process,  attains  the  con- 
sistence of  asphaltum.  This  artificial  asp»haltum  is 
found  to  answer  nearly  all  the  purposes  of  the  natural 
production  in  the  coarse  black  varnishes,  such  as  are 
used  for  coach-tops,  various  japanned  wares,  and  other 
common  articles  which  require  protection  from  rust. 
The  artificial  asphaltum  has  a  feature  so  nearly  resem- 
bling the  natural,  that  it  is  diflicult  to  distinguish  them 
by  external  inspection  :  the  artificial  is  blacker  than  the 
real  asphaltum.  The  most  certain  method  of  detecting 
the  difference  between  them,  is  by  the  smell.  Artificial 
asphaltum  must  be  rejected  for  etching  ground,  as  it 
contains  ammonia,  which  will  be  aflected  by  nitric  acid. 

It  appears,  also,  that  genuine  Syrian  asphaltum  is  the 
proper  substance  for  etching  ground  ;  or  Burgundy 
pitch,  for  such  purpose,  is  scarcely  less  important. 

Black  Varnishes  of  Silhet. — At  Silhet,  in  Bengal,  a 
black  varnish  is  employed  of  singular  lustre  and  dura- 
bility. It  is  obtained  from  the  expressed  juice  of  the 
marking-nut,  scmecarpas  anacardium,  and    that  of  the 


46  ARTIST    AND    TRADESMAN'S    COMPANION. 

holigorna  longifolia.  Both  these  nuts  contain,  in  their 
integuments,  numerous  cells,  filled  with  a  black  resinous 
juice,  which  is  found  also  in  the  wood  of  the  tree.  It  is 
used  as  an  indelible  ink  to  mark  cotton  cloth  ;  the  color 
is  fixed  with  quick-lime.  The  artisans  of  Silhet  com- 
bine the  juice  obtained  from  both  these  nuts  for  a  var- 
nish :  it  is  soluble  in  alcohol,  but  not  in  water. 

Varnish  of  Caoutchouc. — Melt  the  caoutchouc  in  a 
close  vessel,  that  it  may  not  inflame  ;  it  will  require 
nearly  the  temperature  to  melt  lead  ;  it  must  be  stirred 
with  a  horizontal  agitator,  rising  through  the  vessel,  to 
prevent  burning. 

Oil  of  turpentine  should  be  carefully  added  to  it, 
which  will  render  it  easily  applicable,  and  leaves  the 
substance,  when  dry,  a  firm  varnish,  imperviable  to 
water  or  moisture  of  any  kind.  This  is  an  excellent 
varnish  for  preserving  iron  and  steel  from  rust.  The 
varnish  may  at  any  time  be  removed  by  a  soft  brush 
dipped  in  warm  oil  of  turpentine. — Journal  of  Science. 

Varnish  for  Balloons. — A  solution  of  caoutchouc  ir 
five  times  its  weight  of  oil  of  turpentine ;  and  this  so- 
lution, mixed  with  eight  times  its  weight  of  drying  lin- 
seed oil,  by  boiling,  forms  the  varnish  usually  applied 
to  air-balloons. 

Caoutchouc  Varnish,  with  Naphtha. — Digest  one  ounce 
of  caoutchouc,  cut  into  small  pieces,  in  thirty-two  ounces 
of  naphtha.  When  it  is  dissolved,  strain  the  varnish 
through  a  linen  cloth.  Naphtha  is  a  native,  pungent, 
oily,  odoriferous  liquid,  either  colorless  or  of  a  pale 


ARTIST    AND    TRADESMAN'S    COMPANION.  47 

brown  tint,  found  in  springs  on  the  shores  of  the  Cas- 
pian Sea,  in  Sicily  and  Italy,  and  also  near  the  town  of 
Raynagoony  in  the  Burman  Empire  in  Asia.  The  for- 
mulae given  above  makes  a  good  common  varnish,  but 
is  not  better  than  oil  of  tar. 

Brunswick  Black. — Take  of 

Asphaltum, 2  pounds. 

Oil  of  turpentine,      ....  2  pints. 
Boiled  linseed  oil,    .     .     .     .     -^  pound. 

Melt  first  the  asphaltum,  to  which  add  the  linseed  oil, 
and  afterwards  the  oil  of  turpentine. 

This  varnish  is  used  for  grates,  and  other  common 
purposes  ;  it  is  best  applied  warm,  or  even  hot. 

Black  Japan  Varnish. — Take  of 

Asphaltum, 3  ounces. 

Boiled  linseed  oil, 4  pints. 

Burnt  amber,  (in  powder)    ...     4  ounces. 

Oil  of  turpentine,  a  sufficient  quantity  to  make  the 
varnish  of  a  proper  consistence.  Melt  first  the  asphal- 
tum, to  which  add  the  linseed  oil  gradually,  it  being 
first  made  hot ;  next  add  the  burnt  amber,  and  lastly 
the  oil  of  turpentine.     A  useful  varnish  for  leather. 

White  hard  Varnish. — Take  of 

Rectified  spirits  of  wine,     ....  8  pints. 

Gum  anime, 4  ounces. 

Gum  sandarac, 3  pounds. 

Let  the  gums  be  finely  powdered,  and  then  added  to 
the  spirit  of  wine,  a  little  at  a  time,  stirring  the  mixture. 


48  ARTIST    AND    TRADESMAN'S    COMPANION. 

Put  it  into  a  two-gallon  can,  in  a  warm  place,  stiiring 
the  mixture  till  the  gums  are  dissolved,  when  it  may 
be  strained,  and  is  fit  for  use. —  Whitlock. 

Sheldrake's   Copal    Varnish. — Take  of  copal,  broken 

in  small  pieces, 2  ounces. 

Spirits  of  ammonia, 2  ounces ;  or, 

Camphor,      ........     2  drachms. 

Rectified  oil  of  turpentine,     ...  1  pint. 

Stop  the  vessel  with  a  cock  cut  in  grooves,  to  admit  a 
portion  of  the  heated  vapors  to  escape ;  bring  it  to  boil 
over  a  brisk  fire,  so  that  the  bubbles  may  be  counted  as 
they  rise ;  keep  the  mixture  at  the  same  heat ;  for  if 
the  least  irregularity,  or  overheating,  takes  place,  it  is 
useless  to  proceed.     When  the  solution  is  complete,  let 
the  vessel  cool  before  it  is  opened.     The  manufacture 
of  copal  varnish,  as  given  by  this  gentleman,  is  attended 
with  some  inconvenience,  and  another  process  is  here 
given.      This  is  made  by  simply  pouring  upon  copal, 
reduced  to  a  fine  mass  in  a  mortar,  colorless  oil  of  tur- 
pentine to  about  one-third  higher  than  the  copal,  and 
triturating  the  mixture  occasionally  in  the  course  of  the 
day ;  the  next  morning  it  may  be  poured  off  for  use. 
Successive  portions  of  oil  of  turpentine  may  be  mixed 
with  the  copal,  and  will  become  charged  with  it  as  a 
varnish. 

Shellac    Varnish. — Take  of  the  best  shellac,  finely 

powdered, 5  ounces. 

Rectified  spirit  of  wine,     ....  2  pints. 


AKTIST    AND   TRADESMAN  S    COMPANION.  49 

The  mixture  should  be  placed  in  a  gentle  heat,  till  the 
shellac  is  dissolved. 

The  reader's  attention  is  again  called  Lu  the  necessity 
of  employing  the  greatest  caution  in  the  preparation  of 
varnish  of  almost  every  kind  ;  and  especially  of  those 
which  contain  ingredients  that  are  readily  converted  into 
vapor  by  the  application  of  heat. 


DIVISION  OF  VAENISHES  INTO  FIVE  CLASS- 
ES, WITH  INSTRUCTIONS  FOR  PREPARING 
THEM,  &c. 

Class  the  First. 

Varnishes^  possessing  a  drying  quality,  niade  with  Hecti- 
Jied  Sjyirit  of  Wine. 

No  1. — Take  of  Gum  mastic,  .     .     .       6  ounces. 
Spirit  of  wine,     ....  32       " 
Gum  sandarac,  ....       3       " 
Glass,  coarsely  powdered,  .     4       " 
Very  clear  Venice  turpentine,  3       " 

Reduce  the  mastic  and  sandarac  to  fine  powder ;  mix 
this  powder  with  white  glass,  from  which  the  finest  parts 
have  been  separated  by  means  of  a  hair-sieve  ;  put  all 
the  ingredients  with  the  spirit  into  a  short-necked  ma- 
trass, and  adapt  it  to  a  stick  of  white  wood,  round  at 

the  end,  and  of  a  length  proportioned  to  the  height  of 

3 


50  ARTIST    AND    TRADESMAN'S    COMPANION. 

matrass,  that  it  inay  be  put  in  motion.  Expose  the 
matrass  in  a  vessel  filled  with  water,  made  at  first  a 
little  warm,  and  which  must  afterwards  be  maintained 
in  a  state  of  ebullition  for  one  or  two  hours. 

The  matrass  may  be  made  fast  to  a  ring  of  straw. 
The  first  application  of  the  heat  tends  to  unite  the  resins 
into  a  mass  :  this  union  is  opposed  by  keeping  the 
matters  in  a  state  of  rotary  motion,  which  is  easily 
effected  by  means  of  the  stick,  without  moving  the  ma- 
trass. When  the  solution  is  complete,  add  to  it  the 
turpentine  ;  after  which  the  matrass  must  be  left  in  the 
water  for  half  an  hour,  when  it  must  be  taken  out.  and 
the  varnish  continually  stirred  till  it  is  somewhat  cool. 
Next  day  it  is  to  be  drawn  off  and  filtered  through 
cotton.  By  these  means,  it  will  become  exceedingly 
limpid.  The  glass  directed  to  be  used  is  merely  to 
divide  the  ingredients  of  the  mixture,  and  thus  facilitates 
the  solution  of  the  resins  in  the  spirit ;  besides  which, 
as  its  weight  exceeds  that  of  resins,  it  prevents  them 
from  adhering  to  the  bottom  of  the  matrass ;  it  also 
prevents  the  discoloration  of  the  varnish  when  a  sand- 
bath  is  employed,  as  is  commonly  the  case. 

No.  2. — Take  of  pounded  copal,  of  an  amber  color, 
once  liquified,  according  to  the  method  hereafter  to  be 

described, 3  ounces. 

Clear  turpentine, 2^     " 

Powdered  glass, 4       " 

Gum  sandarac, 6       " 

Gum  mastic, 3       " 

Rectified  spirit  of  wine,  ...  32       " 


ARTIST   AKD    TRADESMAN'S    COMPANION.  51 

These  ingredients  are  to  be  mixed,  and  pursue  the  same 
plan  as  directed  in  No.  1.  This  varnish  is  designed  for 
articles  subject  to  friction,  such  as  furniture,  chairs,  fan- 
sticks,  mouldings,  &c.,  and  even  metals,  to  which  it  may 
be  applied  with  success.  There  is  great  durability  given 
to  it  by  the  sandarac. 

No.  3. — Take  of  Gum  mastic,  ...       2  ounces. 

Gum  sandarac, 8       " 

Clear  turpentine,  ....  2  " 
Rectified  spirit  of  wine,  .  .  32  " 
Pounded  glass, 4       " 

Used  as  the  preceding,  for  the  same  articles. 

In  order  to  avoid  repetition,  it  may  not  be  amiss  to 
state  here,  that  all  gums  or  other  hard  bodies  which  can 
be  pulverized,  should  invariably  be  reduced  to  a  state 
of  gross  powder,  before  being  submitted  to  the  action 
of  any  solvent.  If  the  bodies  be  tough,  or  very  adhe- 
sive, such  as  is  sometimes  the  case  with  gum  elemi,  they 
should  be  divided  by  cutting  into  small  pieces,  in  order 
that  the  spirit  or  other  menstruum  may  more  readily 
act  upon  them. 

Class  Second. 

Varnishes  which,  though  Spirituous,  are  less  drying  than 
Class  the  First. 

Nos.  4   and  5  are   for   cut-paper  works,  dressing 
boxes,  &c. 


52  ARTIST    AND    TRADESMAN'S    COMPANION. 

No.  4. — Take  of  Gum  elemi,     ...       4  ounces. 
Gum  sandarac,    ....     6      " 

Camphor, ^  ounce. 

Gum  anime, 1      " 

Pounded  glass, ....       4  ounces. 

Rectified  spirit  of  wine,     .  82      " 

Make  the  varnish  according  to  the  method  already 

directed.     The  soft  resins  may  be  pounded  with  the  dry 

bodies.     The  camphor  is  to  be  added  in  pieces.     These 

varnishes  of  the  second  class  admit  of  modifications  in 

the  nature  of  the  substances  which  concur  towards  their 

formation.     They  are  not  so  dry  as  those  of  the  first 

class.     They  give  pliability,  brilliancy,  and  solidity  to 

the  compositions,  without  injuring  their  drying  qualities. 

No.  5. — Take  of  Gum  anime,  ) 

^  1      .  >  of  each,  2  ounces. 

Gum  elemi,  )  ' 

Frankincense,     ....       0      " 

Rectified  spirit  of  wine,  .  .  32  " 
Make  the  varnish  with  the  precautions  directed  for 
No.  1.  Varnishes  composed  according  to  the  last  two 
formulse,  may  be  employed  for  the  same  purposes  as 
those  which  form  the  first  class.  They  are  much  fitter, 
though,  for  ceilings  and  wainscoting,  colored  or  not 
colored  :  they  may  even  be  employed  as  a  covering  to 
parts  painted  with  strong  water  colors. 

No.  6. — Take  of  Shellac, 2  ounces. 

Gum  sandarac, 6       " 

Rectified  spirit  of  wine,  ...     32       " 

Yellow  rosin,  ^ 

White  glass,  pounded,     >  of  each,  4       " 

Clear  turpentine,  ) 


ARTIST  AND    TRADESMAN'S    COMPANION.  53 

The  varnish  to  be  made  according  to  the  directions 
given  for  No.  1.  This  varnish  is  suited  for  wainscoting, 
snaall  articles  of  furniture,  balustrades,  and  railings  in 
the  inside  of  a  house. 

No.  7. — Take  of  Seed-lac, 2  ounces. 

Gum  sandarac, 4      " 

Pounded  glass, 4      " 

Gum  mastic,  f 

Gum  Benjamin,    f  of  each,    .     .  1  ounce. 

Venice  turpentine,     ....       2  ounces. 
Eectified  spirit  of  wine,    ...  32      " 

The  gum  sandarac  and  lac  render  this  varnish  durable ; 

t  may  be  colored  with  a  little  saffron  or  dragon's  blood. 

This  being  slightly  colored,  is  suitable  for  violins  and 

other  stringed  instruments,  and  even  for  furniture  of 

plum-tree  wood,  mahogany,  and  rose-wood. 

No.  8. — Take  of  Venice  turpentine,  .     ,      2  ounces. 

Gum  sandarac, 2      " 

Seed-lac, 5      « 

Gum  elemi, 1^  ounce. 

Rectified  spirit  of  wine,     .     .    24  ounces. 

Pounded  glass, 5      « 

This  varnish  is  suitable  for  boxes  or  furniture  made  of 
box-wood,  root  of  trees,  &c. 

No.  9. — Take  of  amber  or  copal,  ground 

fills, 2  ounces. 

Seed-lac, Q       « 

Hay  saffron, 36  grains. 

Dragon's  blood, 40       " 


54  ARTIST    AND    TRADESMAN'S     COMPANION. 

Extract  of  red  saunder's  wood, 

obtained  by  water,     ...  30  grains. 

Rectified  spirit  of  wine,  ...     40  ounces. 

Pounded  glass, 4       " 

To  apply  this  varnish  to  articles  of  ornaments  of 
brass,  expose  them  to  a  gentle  heat,  and  dip  them  into 
the  varnish.  Two  or  three  coatings  may  be  applied  in 
this  manner  if  necessary.  The  varnish  is  durable,  and 
has  a  beautiful  color.  Articles  varnished  in  this  manner 
may  be  cleaned  with  water  or  a  piece  of  dry  rag.  This 
varnish  gives  a  gold  tint  to  all  articles  of  brass. 

No.  10. — Take  of  Gum  sandarac,  )      c       i    « 

'  y  01  each,  2  ounces. 
Gum  elemi,  ) 

Gamboge, f  ounce. 

Turmeric  root, f      " 

Dragon's  blood, 1      " 

Seed-lac, 1      « 

Hay  saffron, 12  gains. 

Rectified  spirit  of  wine,  ...  20  ounces. 

Pounded  glass, 3       " 

A  tincture  of  saffron  and  of  the  turmeric  root  must 
first  be  made  by  infusing  them  together  in  the  spirit  of 
wine  for  twenty-fuur  hours,  in  a  moderately  warm  place. 
The  tincture  must  be  strained  through  a  piece  of  clean 
linen  cloth,  and  the  residuum  ought  to  be  strongly 
squeezed.  This  tincture  is  to  be  poured  over  the  dra- 
gon's blood,  the  gum  elemi,  the  seed-lac,  and  the  gam- 
boge, all  pounded  and  mixed  with  the  glass.  The 
varnish  is  then  to  be  made  according  to  directions 
already  given. 


ARTIST    AND    TRADESMAN'S    COMPANION.  55 

It  may  be  applied  with  great  advantage  to  philoso- 
phical instruments.  The  use  of  it  might  also  be  ex- 
tended to  various  cast  or  moulded  articles  with  which 
furniture  is  ornamented.  If  the  dragon's  blood  impart 
too  high  a  color,  the  proportion  may  be  lessened  at 
pleasure,  as  well  as  that  of  the  other  coloring  matters. 

No.  11. — Take  of  amber,   ) 

^      ,  ^  of  each,  .      2  ounces, 

(jramboge,  j  ' 

Dragon's  blood,     ....  60  grains. 

Seed-lac, 6  ouncesb 

Extract  of  red  saunder's  wood 

in  water, 24  grains. 

Rectified  spirit  of  wine, .     .     36  ounces. 

Pounded  glass, 4      " 

Hay  saffron, 36  grains. 

Grind  the  amber,  the  seed-lac,  gamboge,  and  dragon's 
blood,  together  ;  then  mix  them  with  the  pounded  glass, 
and  add  the  spirit,  after  having  previously  formed  with 
it  an  infusion  of  the  saffron  and  of  the  extract  of  saun- 
der's wood. 

The  varnish  must  then  be  completed  as  before.  The 
metal  articles  intended  to  be  covered  by  this  varnish 
are  heated,  and  those  which  will  admit  of  it,  are  im- 
mersed in  packets.  The  tint  of  the  varnish  may  be 
varied  by  modifying  the  proportions  of  the  coloring  sub- 
stances. The  use  of  spirituous  varnishes  will  long  be 
preferred  to  that  of  the  varnishes  which  are  to  form  the 
third  and  fourth  class ;  which,  however,  are  far  superior 
in  all  cases  where  it  is  necessary  to  add  durability  to 


56  ARTIST    AND    TRADESMAN'S    COMPANION.  ^ 

the  other  qualities  required.  The  varnishes  of  these 
two  first  classes  bear  polishing  as  well  as  the  hardest 
compositions  which  constitute  the  three  other  classes  ; 
but  as  they  are  more  delicate,  they  require  modifications 
in  the  operation.  It  is  never  begun  with  pumice  stone. 
Most  of  these  varnishes  are  designed  for  covering  pre- 
liminary preparations,  which  have  a  certain  degree  of 
lustre. 

They  consist  of  cement,  colored  or  not  colored,  covered 
with  landscapes  and  figures  cut  out  in  paper,  which  pro- 
duce an  effect  under  the  transparent  varnish.  Most  of 
the  dressing-boxes,  and  other  small  articles  of  the  same 
kind,  are  covered  with  this  particular  composition,  which, 
in  general,  consists  of  three  or  four  coatings  of  Spanish 
white,  pounded  in  water,  and  mixed  up  with  common 
glue. 

The  first  coating  is  smoothed  with  pumice  stone,  and 
then  polished  with  a  piece  of  new  linen  and  water. 
The  coating  in  this  state  is  fit  to  receive  the  intended 
color,  after  it  has  been  ground  with  water  and  mixed 
with  glue  diluted  with  water.  The  cut  figures  with 
which  it  is  to  be  embellished  are  then  applied,  and  a 
coating  of  gum  or  isinglass  is  spread  over  them,  to 
prevent  the  varnish  from  penetrating  the  preparation, 
and  from  spoiling  the  figures.  The  operation  is  finished 
by  applying  three  or  four  coatings  of  varnish,  which, 
when  dry,  are  polished  with  tripoli  and  water,  by  means 
of  a  piece  of  cloth.  A  lustre  is  then  given  to  the  sur- 
face with  starch  and  a  bit  of  soft  cloth  of  any  kind. 


abti8t  and  tradesman's  companion.  57 

Class  Third. 

This  class  of  varnishes  are  less  exposed  to  the  altera- 
tions to  which  those  of  the  two  preceding  classes  are 
sometimes  subject.  The  nature  of  the  solvent  is  here 
different :  oil  of  turpentine  is  here  substituted  in  the 
place  of  spirit  of  wine.  Almost  all  the  resinous  sub- 
stances, and  even  the  coloring  substances  hitherto  em- 
ployed, are  used  in  this  third  class,  and  by  their  various 
mixtures  with  the  oil,  concur  to  accomplish  the  same 
views,  and  produce  the  same  results.  It  must  not  be 
supposed,  though,  notwithstanding  what  has  been  here 
said,  that  the  properties  of  spirit  of  wine,  and  those  of 
oil  of  turpentine,  are  identical ;  they  differ  in  many 
respects. 

Spirit  becomes  changed  with  some  particular  sub- 
stances which  are  not  soluble  in  the  oil :  of  this  kind 
are  pertain  coloring  matters,  such  as  indigo,  turnsole, 
red  saunders-wood,  saffron,  &c.  On  these  oil  of  tur- 
pentine produces  no  effect.  In  like  manner,  also,  oil  of 
turpentine,  under  certain  circumstances,  exerts  all  the 
energy  of  solution  on  copal,  which  resists  spirit  unless 
it  be  divided  by  a  soluble  body. 

At  any  rate,  what  it  would  dissolve  without  an  inter- 
mediate substance,  would  not  be  sufficient  to  constitute 
a  varnish.  Varnishes  made  with  oil  are  superior  to 
those  composed  with  spirit.  The  former  unite  pliable- 
ness  and  smoothness  to  brilliancy  and  durability  :  they 
yield  better  to  the  operation  of  polishing,  and  are  less 
liable  to  crack    than   spirituous  varnishes.     All   these 


58  ARTIST    AND    TRADESMAN  S    COMPANION. 

qualities,  which  are  well-known,  ought  to  induce  artists 
to  prefer  this  class  in  all  cases  where  the  preservation 
of  the  articles  to  which  they  are  applied,  is  an  object  of 
importance. 

This  preference  is  necessary  in  particular  for  valuable 
paintings.  In  spirituous  varnishes  the  deposit  of  resin 
ous  matter,  divided  and  in  a  state  of  complete  solution, 
is  sooner  formed,  according  as  the  season,  or  circum- 
stances arising  from  an  artificial  temperature,  accelerate 
the  evaporation  of  the  dividing  fluid.  The  nature  of 
this  fluid  is  sufficiently  known  ;  and  it  gives  no  reason 
to  suspect  that  any  of  its  parts  incorporate  with  the  re- 
sinous molecules,  the  precipitation  of  which  confirms 
the  effect  of  a  varnish  :  the  alcohol  then  evaporates  en- 
tirely. The  case  is  not  the  same  with  oil  of  turpentine, 
nor  with  other  liquids  which  have  all  the  characters  of 
oils.  They  are  not  susceptible  of  entire  evaporation.  The 
less  volatile  oils  are,  the  greater  will  be  the  solidity  of 
the  varnishes  resulting  from  their  mixture  with  resins, 
and  vice  versa.  Oil  of  turpentine,  and  oils  of  greater 
density,  which  are  still  better,  would  alone  form  var- 
nishes by  repeated  application. 

Spirit  of  wine  in  this  case,  would  disappear  without 
leaving  any  trace.  The  consistence  which  varnishes 
acquire  from  oil  of  turpentine,  is  often  increased  by  that 
arising  from  the  particular  nature  of  the  matters  which 
form  part  of  the  changing  varnishes,  and  particularly  of 
that  of  the  varnishes  distinguished  by  the  name  of  mor- 
dants. 

In  giving  the  formulae  for  varnishes  of  this  third  class, 


ARTIST    AND   TRADESMAN'S    COMPANION.  59 

the  order  will  be  followed  as  indicating  the  degree  of 
their  tenacity,  and  of  their  resistance  to  desiccation. 
No.  12. — Take  of  pure  turpentine,  .     .     1^  ounce. 
Gum    mastic,    cleaned   and 

washed, 12  ounces. 

Camphor, -J  ounce. 

Oil  of  turpentine,  ....  36  ounces. 
White  glass,  pounded,  .  .  5  " 
Make  the  varnish  according  to  the  method  indicated 
for  No.  1.  of  the  first  class.  The  camphor  must  be  cut 
into  pieces,  and  the  turpentine  added  when  the  solution 
of  the  resin  is  completed.  But  if  the  varnish  is  to  be 
applied  to  old  paintings,  or  paintings  which  have  been 
already  varnished,  the  pure  turpentine  may  be  omitted, 
as  this  is  here  recommended  only  in  cases  of  a  first  ap- 
plication to  new  paintings,  and  just  freed  from  white  of 
egg  varnish. 

The  varnish  designed  for  paintings  ought  to  be  color- 
less, if  possible,  that  it  may  communicate  no  foreign 
tint  to  the  tones  of  the  painting  :  it  should  unite  plia- 
bility and  smoothness  to  the  most  perfect  transparency. 
It  must  not,  though,  have  too  much  glazing,  as  the  re- 
flection of  the  light  is  injurious  to  the  effect.  Spirit  of 
wine  renders  varnishes  too  dry  for  paintings,  as  they 
split  and  crack. 

No  13. — Take  of  Gum  mastic,     .     .       2  ounces. 
Oil  of  turpentine,    ...  32       " 
Fresh  frankincense,    .     .       4       " 
Venice  turpentine,   ...     6       " 
Pounded  glass,  ....      4       *' 


60  ARTIST    AND    TRADESMAN'S    COMPANION. 

When  the  varnish  is  made  with  the  precautions 
already  indicated,  add  of  prepared  nut-oil  two  ounces. 
This  varnish  is  intended  for  grinding  colors. 

No.  14. — Take  of  Venice  turpentine,     .  2  ounces. 

Frankincense, 12      " 

Oil  of  turpentine,  ....  32      " 

White  glass,  pounded,  ...  5      " 

Make  the  varnish  after  the  frankincense  has  been 
pounded  with  the  glass.  This  varnish  is  proper  to  be 
used  in  mixing  up  colors  for  grounds. 

No.  15. — Take  of  sandarac  or  mastic,       4  ounces. 

Seed-lac, 4      " 

Turmeric  root )     /.       i  oa       • 

V  01  each,      .     3o  grams. 

Gamboge,        ) 

Dragon's  blood,     .     ,     .     .  -^  ounce. 

Oil  of  turpentine,     ...  32  ounces. 

Pure  turpentine,     ....  2       " 

Pounded  glass,     ....  5       " 

A  tincture  is  to  be  made  of  the  coloring  substances ; 
and  then  add  the  resinous  bodies  according  to  the  pre 
scription  given  at  No.  I.  These  kinds  of  varnishes  are 
called  "changing,"  because  when  applied  to  such  as 
brass,  or  hammered  tin,  or  wooden  boxes,  and  other  fur- 
niture, they  communicate  to  them  a  more  agreeable 
color. 

Besides,  by  their  contact  with  the  common  metals, 
they  acquire  a  lustre  which  approaches  that  of  the  pre- 
cious metals,  and  to  which,  in  consequence  of  peculiar 


ARTIST    AND   TRADESMAN'S    COMPANION.  61 

intrinsic  qualities,  or  certain  laws  of  convention,  a  much 
greater  value  is  attached.  It  is  by  means  of  these 
changing  varnishes  that  artists  are  able  to  communicate 
to  their  leaves  of  silver  and  copper  those  shining  colors 
observed  on  foils.  This  product  of  industry  becomes  a 
source  of  prosperity  to  the  manufecturers  of  buttons 
and  works  formed  with  foil ;  and  in  the  hands  of  the 
jeweller  contributes  with  so  much  success  to  produce 
that  reflection  of  the  rays  of  light  which  doubles  the 
lustre  and  sparkling  quality  of  precious  stones. 

It  is  to  varnish  of  this  kind  that  we  are  indebted  for 
the  manufacture  of  "  gilt  leather."  As  the  colors  given 
by  different  coloring  substances  require  tones  suited  to 
the  objects  for  which  they  are  designed,  the  artist  has  it 
in  his  power  to  vary  them  at  pleasure.  The  addition 
of  anotta  to  the  mixture  of  dragon's  blood,  saffron,  &c., 
or  some  changes  in  the  doses  of  the  more  coloring 
bodies,  will  easily  lead  to  the  modifications  desired  to 
be  made  in  the  colors.  There  is  one  very  simple  method 
by  which  artists  may  be  enabled  to  obtain  all  the  dif- 
ferent tints  they  require  : — 

Infuse  separately  4  ounces  of  gamboge  in  32  ounces 
of  oil  of  turpentine,  and  4  ounces  of  dragon's  blood  and 
an  ounce  of  anotta,  also  in  separate  portions  of  the  oil. 
These  infusions  may  be  easily  made  in  the  sun.  After 
fifteen  days'  exposure,  pour  a  certain  quantity  of  these 
liquors  into  a  flask,  and  by  varying  the  proportions  you 
will  obtain  different  shades  of  color.  These  infusions 
may  be  employed  also  for  spirituous  changing  varnishes ; 
but  in  this  case,  the  use  of  saffron,  as  well  as  that  of 


62  ARTIST    AND    TRADESMAN'S    COMPANIOK. 

red  saunder's  wood,  which  does  not  succeed  with  oil  of 
turpentine,  will  give  the  tone  necessary  for  imitating 
with  other  tinctures  the  color  of  gold. 

The  fat  golden  varnish,  already  described,  acquires  its 
color  from  a  similar  mixture  of  tinctures.  This  class 
of  less  drying  varnishes,  admits  also  species  which  ap- 
proach nearly  to  the  nature  of  fat  varnishes,  and  which 
are  known  by  the  name  of  "mordants." 

No.  16. — Take  of  gamboge,     .     .     .     .     ^  ounce. 

Gum  sandarac, 1      " 

Gum  mastic, 1      *' 

Oil  of  turpentine, 6  ounces. 

Turpentine, ^  ounce. 

This  composition  may  be  made  still  less  drying  by 
substituting  an  ounce  of  the  oil  of  lavender,  in  place  of 
the  turpentine.  The  compositions  of  mordants  admit 
of  modifications,  as  a  general  rule,  according  to  the  kind 
of  work  for  which  they  are  designed.  The  application 
of  them  is  chiefly  confined  to  gold. 

When  it  is  required  to  fill  up  a  design  with  gold-leaf, 
on  any  ground  whatever,  the  composition  which  is  to 
serve  as  the  means  of  union  between  the  metal  and  the 
ground,  ought  to  be  neither  too  thick  nor  too  fluid,  be- 
cause both  these  circumstances  are  equally  injurious  to 
delicacy  in  the  strokes  :  it  will  be  requisite  also  that  the 
composition  should  not  dry  till  the  artist  has  completed 
his  design.  Besides,  many  artists  never  make  use  ot 
prepared  mordants.  They  substitute  in  their  stead  an 
extemporaneous  mixture,  which  they  alter  at  pleasure. 


ARTIST    AND    TRADESMAN'S    COMPANION.  63 

Some  prepare  their  mordant  with  asphaltum  and  drying 
oil,  diluted  with  oil  of  turpentine.  They  employ  it  for 
gilding  pale  gold,  or  for  bronzing.  Other  artists  imi- 
tate the  Chinese,  and  mix  with  their  mordants  color 
proper  for  assisting  the  tone  which  they  are  desirous  of 
giving  to  the  gold,  such  as  yellow,  red,  &c. 

Others  employ  merely  the  fat  varnish  of  the  fifth 
class.  No.  21,  to  which  they  add  a  little  red  lead. 
Others  make  use  of  thick  glue,  in  which  they  dissolve 
a  little  honey.  This  is  what  they  call  "  batture."  When 
they  are  desirous  of  heightening  the  color  of  the  gold, 
they  employ  this  glue,  to  which  this  leaf  adheres  ex- 
ceedingly well.  Here  is  a  good  composition  for  the 
purpose  :  it-  qualities  are  fit  for  every  kind  of  applica- 
tion, and  mo/e  particularly  for  that  of  metals  : 

Take  boiled  oil  and  expose  it  to  a  strong  heat  in  a 
pan  ;  when  a  black  smoke  is  disengaged  from  it,  set  it 
on  fire,  and  extihguish  it  a  few  moments  after  by  putting 
on  the  cover  of  the  pan.  Then  pour  the  matter,  still 
warm,  into  a  heated  bottle,  and  add  to  it  a  little  oil  of 
turpentine.  This  mordant  dries  up  very  speedily :  it 
has  body,  and  adheres  to,  and  strongly  retains,  gold- 
leaf  when  applied  to  wood,  metals,  and  other  substances. 
These  examples  are  suflScient  to  show  the  nature  of  the 
varnishes  which  compose  the  third  class.  The  following 
class  will  make  the  reader  acquainted  with  others  which 
have  still  more  solidity.  Under  the  head  No.  25,  will 
DC  found  another  mordant,  still  fatter,  with  which  brown 
colors  may  be  mixed. 


64  artist  and  tradesman's  companion, 

Class  Fourth. 

Varnishes  of  Copal,  made  with  Ether  and  Oil  of  Tur- 
pentine. 

The  dry  nature  of  the  resins  which  form  the  basis  of 
the  three  preceding  classes  of  varnishes  and  their  fria- 
bility, announce  that  solidity  is  not  one  of  their  in- 
herent qualities.  The  merit  of  the  most  of  these  com- 
positions seem  to  be  confined  to  their  drying  quality 
and  to  their  brilliancy.  The  two  following  classes  will 
unite  to  these  first  characters  consistence  and  solidity. 

No.  17. — Take  of  sulphuric  ether,     .     2  ounces. 
Copal,  of  an  amber  color,    .  ^  ounce. 

Reduce  the  copal  to  very  fine  powder,  and  introduce 
it  by  small  portions  into  the  flask  which  contains  the 
ether  ;  close  the  flask  with  a  glass  or  cork-stopper,  and, 
having  shaken  the  mixture  for  half  an  hour,  leave  it  at 
rest  till  the  next  morning.  In  shaking  the  flask,  if  the 
lids  become  covered  with  small  undulations,  and  if  the 
liquor  be  not  exceedingly  clear,  the  solution  is  incom- 
plete. In  this  case  add  a  little  more  ether,  and  leave 
the  mixture  at  rest.  The  varnish  is  of  a  light  lemon 
color.  It  has  been  applied  to  wood  with  complete  suc- 
cess, and  the  glazing  it  produced  united  lustre  to  solidity. 

No.  18. — Take  of  oil  of  turpentine,     .     .     8  ounces. 
Copal,  of  an  amber  color,  in 

powder, 1^  ounce. 

The  oil  is  to  be  exposed  to  a  water-bath,  in  a  wide- 


ARTIST    AND    TRADESMAN'S    COMPANION.  65 

mouthed  matrass  with  a  short  neck  :  as  soon  as  the 
water  of  the  bath  begins  to  boil,  throw  into  the  oil  a 
large  pinch  of  copal  powder,  and  keep  the  matrass  in  a 
state  of  circular  motion.  When  the  powder  is  incor- 
porated with  the  oil,  add  more  of  it ;  and  continue  in 
this  manner  till  you  observe  that  there  is  formed  an  in- 
soluble deposit. 

Then  take  the  matrass  from  the  bath,  and  leave  it  at 
rest  for  some  days  ;  draw  off  the  clear  varnish,  and  filter 
it  through  cotton.  At  the  moment  when  the  first  por- 
tion of  the  copal  is  thrown  into  the  oil,  if  the  powder 
precipitate  itself  in  lumps,  it  is  needless  to  proceed 
farther.  This  effect  arises  from  two  causes  :  either  the 
oil  does  not  possess  the  proper  degree  of  concentration 
or  it  has  not  been  sufficiently  deprived  of  water.  Ex- 
posure to  the  sun,  employing  the  same  matrass,  to  which 
a  cork-stopper  should  be  added,  will  give  it  the  qualities 
requisite  for  the  solution  of  copal.  This  effect  will  be 
seen  by  the  disappearance  of  the  portion  of  copal  al- 
ready put  into  it.  To  obtain  this  varnish  colorless,  it 
may  be  proper  to  rectify  the  oil  of  the  shops,  and  to 
give  it  the  necessary  density  by  exposure  to  the  sun  in 
bottles  closed  with  cork-stoppers,  leaving  an  interval  of 
some  inches  between  the  stopper  and  the  surface  of  the 
liquid. 

A  few  months  are  thus  sufficient  to  communicate  to 
it  the  required  qualities.  This  solution  of  copal  in  oil 
of  turpentine  is  an  exceedingly  durable  varnish,  and 
quite  brilliant.  It  resists  percussion  much  better  than 
the  enamel  of  toys,  which  often  becomes  scratched  and 


66  ARTIST    AND    TRADESMAN  S    COMPANION. 

whitened  by  friction  ;  it  is  susceptible  also  of  a  fine 
polish.  It  is  applied  with  the  greatest  success  to  philo- 
sophical instruments,  and  the  paintings  with  which  ves- 
sels and  other  utensils  of  metal  are  decorated. 

No.  19. — Take  of  oil  of  turpentine,  .     .     6  ounces. 
Copal,  in  powder,     ....  1  ounce. 
Essential  oil  of  lavender,      .     2  ounces. 

The  oil  of  lavender  is  to  be  put  into  a  matrass  of  a 
proper  size,  placed  on  a  sand-bath,  made  hot  by  an 
Argand's  lamp,  or  over  a  moderate  coal  fire.  Add  to  the 
oil,  while  very  warm,  and  at  several  times,  the  copal 
powder,  and  stir  the  mixture  with  a  stick  of  white  wood 
rounded  at  the  end.  When  the  copal  has  entirely  dis- 
appeared, add  at  three  different  times  the  oil  of  turpen- 
tine, almost  in  a  state  of  ebullition,  and  keep  continually 
stirring  the  mixture. 

When  the  solution  is  completed,  the  result  will  be  a 
varnish  of  a  gold  color,  very  durable  and  brilliant,  but 
less  drying  than  the  preceding. 

No.  20. — Take  of  clear  turpentine,    .     .     1  ounce. 
Copal, 4  ounces. 

Put  the  copal,  coarsely  powdered,  into  a  varnish-pot, 
and  give  it  the  form  of  a  pyramid,  which  must  be  covered 
with  turpentine.  Shut  the  vessel  closely  and,  placing  it 
over  a  gentle  fire,  increase  the  heat  gradually,  that  it 
may  not  attack  the  copal. 

As  soon  as  the  matter  is  well  liquified,  pour  it  upon 
a  plate  of  copper,  and  when  it  has  resumed  its  consist- 


ARTIST    AND    TRADESMAN'S    COMPANION.  67 

ence,  reduce  it  to  powder.  Put  half  an  ounce  of  this 
powder  into  a  matrass  with  four  ounces  of  rectified  oil 
of  turpentine,  and  stir  the  mixture  till  the  solid  matter 
is  entirely  dissolved. 

No.  21. — Take  of  essential  oil  of  lavender,  6  ounces. 

Pulverized  copal, 2      " 

Camphor, -J  ounce. 

Oil  of  turpentine,  a  sufficient  quantity,  ac- 
cording to  the  consistence  required  to  be 
given  to  the  varnish. 

Put  into  a  phial  of  thin  glass,  or  into  a  small  matrass, 
the  oil  of  lavender  and  the  camphor,  and  bring  the  oil 
and  the  camphor  to  a  slight  state  of  ebullition.  Then 
add  the  copal  powder  in  small  portions,  which  must  be 
renewed  as  they  dissolve  in  the  liquid.  Favor  the  so- 
lution by  stirring  it  with  a  stick  of  white  wood ;  and 
when  the  copal  is  incorporated  with  the  oil,  add  the  oil 
of  turpentine  boiling,  but  care  must  be  taken  to  pour  it 
in  at  first  only  in  small  portions.  Camphor,  which  has 
long  been  employed  as  a  medium  to  facilitate  the  solu- 
tion of  resin  in  the  composition  of  varnish  destined  for 
valuable  paintings,  might  be  applied  in  this  process  in 
doses  of  from  24  to  30  grains  for  every  ounce  of  the 
oil  of  lavender. 

It  has  the  singular  property  of  altering  the  consistence 
of  the  driest  resins,  and  of  rendering  them  soft. 

It  softens  them  to  such  a  degree  that  it  is  impossible  to 
preserve  the  consistence  of  plaster,  if  the  quantity  be  car 
ried  beyond  thirty  or  forty  grains  for  each  ounce  of  resin 


68  ARTIST    AND    TRADESMAN'S    COMPANION. 

Description  of  a  Furnace,  intended  for  the  liquifaction  '^ 
Copal  and  Amber. 

This  furnace,  a  section  of  which  is  represented  at  Fig. 
1,  Plate  I.,  may  be  entirely  constructed  of  burnt  clay, 
three  large  apertures  being  made  in  the  lower  chamber, 
A,  which  supplies  the  place  of  an  ash-hole  in  the  com- 
mon furnaces.  The  upper  part  of  these  apertures  is 
arched,  and  the  pillars  or  solid  parts  between  them 
should  be  as  narrow  as  possible,  in  order  to  enable  the 
artist  with  facility  to  extract  the  liquified  matter,  and 
even  to  mix  it  with  the  drying  oil,  if  this  kind  of  varnish 
be  required.  The  upper  part,  b,  or  fire-place  of  the  fur- 
nace, is  separated  from  the  lower  part,  a,  by  a  bottom 
or  plate,  which  answers  the  same  purpose  as  a  grate  in 
common  furnaces.  - 

This  plate  has  in  the  middle  a  circular  aperture,  the 
diameter  of  which  corresponds  to  that  of  the  tube,  c, 
which  it  is  designed  to  receive,  and  which  extends  a 
considerable  way  below  it.  This  plate  may  either  form 
one  piece  with  the  furnace,  or  may  be  movable.  In 
the  latter  case,  it  is  supported  by  three  projections,  or 
by  a  circular  ledge,  which  projects  inward. 

In  some  furnaces  this  partition  is  composed  of  an 
iron  plate  covered  with  a  coating  of  potter's  clay  an 
inch  in  thickness.  This  precaution  is  indispensably  ne- 
cessary to  prevent  the  heat  from  penetrating  to  the 
lower  division,  a.  The  sides  of  the  fire-place,  b,  are 
pierced  with  holes  an  inch  in  diameter,  and  distant  from 
each  other  about  three  inches.     These  apertures  admit 


AKTI8T  AND    TRADESMAN'S    COMPANION.  69 

4ir  sufficient  to  maintain  the  heat  at  the  degree  proper 
for  this  liind  of  operation.  The  following  are  the  pro- 
portions of  the  three  parts  of  this  furnace,  which  has 
served  for  experiments,  and  in  which  six  ounces  of 
oopal  were  liquefied  in  the  space  of  ten  minutes,  with- 
out altering  its  color. 

IncJies. 

Total  height  of  the  furnace, VI ^ 

Height  of  the  lower  chamber,  A,  inclu- 
ding the  bottom,  which  was  an  inch  in 

thickness, 11 

Height  of  the  lower  chamber,  b,  or  of 

the  fire-place, 5^ 

Diameter,  taken  at  the  superior  edge  of 

the  fire-place,  b, 9^ 

Diameter  of  the  same,  taken  at  the  bot- 
tom, or  partition, 7 

This  part  decreases  in  diameter  2^  inches,  tapering 
towards  the  lower  part  of  the  furnace,  a.  The  tube,  c, 
is  conieal  at  the  upper  extremity,  and  cylindrical  to- 
wards the  bottom  :  it  is  9^  inches  in  length,  4^  in 
diameter  at  the  top,  and  2^  towards  the  middle.  Both 
ends  of  it  are  open. 

The  tube,  c,  is  placed  in  the  aperture  formed  in  the 
middle  of  the  partition,  in  such  a  manner  as  to  rise 
three  or  four  inches  into  the  fire-place.  The  place 
where  it  joins  to  the  partition  is  luted  with  clay,  to  pre- 
vent the  ashes  or  small  coal  from  falling  down.  When 
khis  arrangement  is  made,  the  net,  d,  (see  Fia.  2)  made 
of  brass  wire,  worked  very  open,  is  placed  in  the  tube. 


70  ARTIST    AND    TRADESMAN'S    COMPANION. 

It  has  the  shape  of  a  funnel,  the  upper  part  of  which 
is  made  fast  to  a  ring  of  wire,  of  the  same  diameter  as 
the  upper  part  of  the  tube,  c.  The  decrease  in  the 
diameter  of  the  tube,  c,  conduces  to  the  stability  of  this 
net,  and  the  conical  form  of  the  latter  prevents  it  from 
coming  into  contact  with  the  lateral  parts  of  the  tube, 
which  is  a  matter  of  great  importance  to  preserve  the 
copal  from  too  great  alteration  by  the  heat.  The  copal 
is  placed  on  this  metallic  filter  in  pieces  not  larger  than 
a  small  nut,  and  the  whole  is  closed  up  with  the  iron 
plate  or  cover,  e,  an  inch  in  thickness,  taking  care  to 
lute  the  joining  with  clay,  to  prevent  all  communication 
with  the  external  air. 

A  shallow  dish  or  capsule,  f,  filled  with  water,  (Fig. 
3)  is  placed  under  the  bottom  of  the  tube,  c,  in  such  a 
manner  that  the  tube  is  immersed  in  the  water  two  or 
three  times.  The  fire-place,  b,  being  filled  with  burning 
coals,  so  as  to  rise  above  the  iron  cover  of  the  tube,  the 
first  action  of  the  heat  on  the  copal  is  discovered  by  a 
kind  of  crackling,  the  consequence  of  its  dilation,  which 
makes  it  split  into  small  pieces ;  soon  after  which  it 
melts.  A  small  iron  pallet-knife,  terminating  in  an 
elbow,  is  introduced  under  the  tube,  and  moved  in  such 
a  manner  as  to  cause  the  liquid  part  of  the  copal  to  fall 
down  into  the  water,  and  to  bring  it  under  the  solid 
form  towards  the  edge  of  the  capsule. 

When  the  operation  is  finished,  the  copal  is  spread 
out  on  dry  linen  cloths,  or  on  unsized  paper,  and  then 
dried  by  a  gentle  heat.  While  the  melted  copal  is  fall- 
ing down,  a  very  small  portion  of  oil  separates,  which 


ARTIST    AND    TRADESMAN'S    COMPANION.  71 

remains  fluid  after  the  operation.  It  floats  on  the  water 
as  well  as  the  copal,  and  gives  to  the  latter  a  greasy  ap- 
pearance. But  when  the  tube  is  of  sufficient  length, 
there  will  be  no  necessity  for  immersing  the  end  of  it 
in  the  water,  or  even  for  receiving  the  matter  in  the 
water ;  but  in  this  case,  a  kind  of  smoke  will  escape, 
which  may  be  offensive  to  the  operator. 

The  essential  point  is  to  regulate  the  fire  in  such  a 
manner  as  not  to  alter  the  color  of  the  copal.  If  a 
very  thick  smoke  issues  through  the  lower  aperture  of 
the  tube  when  red-hot,  and  when  the  drops  fall  into  the 
water  rise  into  bladders  and  burst,  there  is  reason  to 
conclude  that  the  fire  is  too  great. 

No.  22. — Take  of  oil  of  turpentine,   .     20  ounces. 
Copal,  liquefied,      ....     3       " 

Place  the  matrass  containing  the  oil  in  a  water-bath, 
and  when  the  water  is  warm  add  the  copal  in  small 
quantities.  Keep  stirring  the  mixture,  and  add  no  more 
copal  till  the  former  be  incorporated  with  the  oil.  If 
the  oil  takes  up  three  ounces  of  it,  add  a  little  more ; 
but  stop  when  the  liquid  becomes  cloudy,  and  leave  the 
varnish  at  rest.  If  it  be  too  thick,  dilute  it  with  a  little 
warm  oil,  afi;er  having  heated  it  in  the  balneum  marise. 
When  cold  filter  it  through  cotton.  This  varnish  has  a 
good  consistence,  and  is  as  free  from  color  as  the  best 
spirituous  varnish. 

When  extended  in  one  stratum  over  smooth  wood, 
which  has  undergone  no  preparation,  it  forms  a  very 
brilliant  glazing,  which,  in  the  course  of  two  days  in 


72  ARTIST    AND    TRADESMAN'S    COMPANION. 

summer,  acquires  all  the  solidity  that  may  be  required. 
Painted  boxes,  and  all  small  articles,  colored  or  not 
colored,  where  it  is  required  to  make  the  veins  appear 
in  all  the  richness  of  their  tones,  call  for  the  application 
of  this  varnish,  which  produces  the  most  effect,  and 
which  is  more  durable  than  turpentine  varnishes  com- 
posed with  other  resinous  substances. 

Class  Fifth. 

Though  the  varnishes  of  this  class  are  the  most  dura- 
ble, they  are  slower  in  drying.  They  are  designed  for 
objects  exposed  to  friction  or  percussion,  and  are  par- 
ticularly employed  for  the  decoration  of  carriages.  They 
are  applied  to  wood,  to  iron,  brass,  and  also  to  copper ; 
they  are  likewise  used  for  waiters,  Argand's  lamps,  tea- 
pots, and  other  utensils  of  the  same  kind. 

Although  the  proportions  indicated  in  the  different 
formulae  for  this  fifth  class  of  varnishes  have  been 
proved,  the  last  portions  of  the  copal,  and  particularly 
of  the  amber,  must  not  be  melted  if  the  varnish  be  re- 
quired as  little  colored  as  possible.  The  portions  of 
the  amber  which  have  escaped  liquefaction  can  be  easily 
separated  by  a  sieve,  or  by  deposition. 

No.  23. — Take  of  oil  of  turpentine,    .     16  ounces. 

Picked  copal, 16       " 

Prepared  linseed  or  poppy 

oil, 8       " 

Liquefy  the  copal  in  a  matrass  over  a  fire,  and  then 
add  the  linseed  oil,  or  oil  of  poppies,  previously  made 


ARTIST   AND    TRADESMAN'S    COMPANION.  73 

very  hot ;  when  these  matters  are  incorporated,  take 
the  matrass  from  the  fire  ;  stir  the  matters  till  the  heat 
has  in  part  subsided,  and  then  add  the  oil  of  turpentine, 
previously  made  warm.  Strain  the  whole  while  still 
hot  through  a  piece  of  linen,  and  put  the  varnish  into  a 
wide-mouthed  bottle.  By  keeping  it  improves,  and  be- 
comes clearer.  In  general,  there  is  much  advantage  in 
not  employing  too  violent  heat. 

The  varnish  by  these  means  succeeds  better,  and  ac- 
quires less  color.  If  it  afterwards  becomes  too  thick, 
add  a  little  warm  oil  of  turpentine,  that  the  mixture 
may  take  place  more  speedily. 

No.  24. — Take  of  Venice  turpentine,     .       1^  ounce. 
Copal,  of  an  amber  color,  .     .     6  ounces. 
Oil  of  turpentine,    ....       6       " 
Prepared  linseed  oil,      ...  18       " 
It  is  customary  to  place  the  Venice  turpentine  over 
the  copal,  reduced  to  small  fragments,  in  the  bottom  of 
an  earthen  or  metal  vessel,  or  in  a  matrass  exposed  to 
such  a  heat  as  to  liquefy  the  copal ;  but  it  is  more  ad- 
vantageous to  liquefy  the  latter  alone,  to  add  the  linseed 
oil,  previously  made  very  hot,  then  the  Venice  turpen- 
tine liquefied,  and,  in  the  last  place,  the  oil  of  turpentine. 
If  the  varnish  be  too  thick,  some  oil  of  turpentine  may 
be  added.      It  is  employed  in   the  manufactories  for 
watch-cases,  in  imitation  of  tortoise-shell. 
No.  25, — Take  of  Venice  turpentine,  or 

gum  lac, 2  ounces. 

Amber,  coarsely  powdered,  16  " 
Oil  of  turpentine,  ...  15  " 
Prepared  linseed  oil,  ...     10       '• 


74  ARTIST    AND    TRADESMAN'S    COMPANION. 

The  circumstances  of  the  process  are  the  same  as 
those  prescribed  for  the  preparation  of  the  copal  var- 
nish, No.  21. 

No.  26. — Take  of  drying  linseed    J 

oil,  >  each,  10  ounces. 

Oil  of  turpentine,  ) 

Amber  or  copal,  of  1  infusion,     4       " 

Put  the  whole  into  a  pretty  large  matrass,  and  expose 
it  to  the  heat  of  a  balneum  marias,  or  move  it  over  the 
surface  of  an  uncovered  chafing  dish,  but  without  flame, 
and  at  the  distance  from  it  of  two  or  three  inches.  When 
the  solution  is  completed,  add  still  a  little  amber  or  co- 
pal, to  saturate  the  liquid.  Then  pour  the  whole  on  a 
filler  prepared  with  cotton,  and  leave  it  to  clarify  by 
rest. 

If  the  varnish  is  too  thick,  add  a  little  warm  oil  of 
turpentine,  to  prevent  the  separation  of  any  of  the  am- 
ber. This  varnish  is  colored,  but  far  less  so  than  those 
composed  by  the  usual  method.  When  spread  over 
white  wood,  without  any  preparation,  it  forms  a  solid 
glazing,  and  communicates  a  slight  tint  to  the  wood. 

No.  27. — Take  of  gum  lac,  ....  2  ounces. 

Amber, 8       " 

Oil  of  turpentine,      ...  16       " 

Drying  linseed  oil,     ...  8       " 

Dissolve  separately  the  gum  lac ;  then  add  the  am- 
ber, prepared  and  pulverized,  with  the  linseed  oil  and 
turpentine  very  warm.  W^hen  the  whole  has  lost  a  part 
of  its  heat,  mix  in  relative  proportions   tinctures  of 


ARTIST    AND    TRADESMAN'S    COMPANION.  75 

anotta,  of  turmeric  root,  gamboge,  and  dragon's  blood, 
as  mentioned  at  No.  10.  When  this  varnish  is  applied 
to  white  metals,  it  gives  them  a  gold  color. 

No.  28. — Take  of  Venice  turpentine,     .       Bounces. 
Boiled  linseed  oil,     .     .     .     .16      " 
Naples  yellow, 5      " 

Heat  the  oil  with  the  turpentine,  and  mix  the  Naples 
yellow  pulverized.  This  is  a  fat  varnish,  which  may 
serve  as  a  mordant  to  gold,  and  at  the  same  time  to 
dark  colors.  Naples  yellow  is  chiefly  an  oxide  of  lead. 
It  is  substituted  here  for  resins,  on  account  of  its  drying 
quality,  and,  in  particular,  of  its  color,  which  resembles 
that  of  gold.  Great  use  is  made  of  this  varnish  in  ap- 
plying gold-leaf.  The  yellow  may  be  omitted  when 
varnish  of  this  kind  is  to  be  applied  to  solid  and  colored 
coverings. 

In  this  case,  an  ounce  of  litharge,  to  each  pound  of 
composition,  may  be  substituted  in  its  stead,  without 
this  mixture  doing  any  injury  to  the  color  which  is  to 
constitute  the  ground. 

No.  29. — Take  of  boiled  linseed  oil,  .     16  ounces. 
Oil  of  turpentine,  ....  16      " 
Caoutchouc,  or  India  rubber,  16      " 

Cut  the  caoutchouc  into  thin  slips,  and  put  them  into 
a  matrass,  placed  in  a  hot  sand-bath.  When  the  matter 
is  liquified,  add  the  linseed  oil  in  a  state  of  ebullition, 
and  then  the  oil  of  turpentine,  warm.  When  the  var- 
nish has  lost  a  great  part  of  its  heat,  strain  it  through  a 

3* 


76  ARTIST    AND    TRADESMAN'S    COMPANION. 

piece  of  linen,  and  preserve  it  in  a  wide-mouthed  bottle. 
This  varnish  dries  very  slowly — a  fault  which  is  owing 
to  the  peculiar  nature  of  the  caoutchouc. 

Gold-colored  Varnish  for  Wood  or  Metal. — Take  two 
ounces  of  gum  sandarac,  one  ounce  of  litharge  of  gold, 
four  ounces  of  clarified  linseed  oil ;  boil  them  in  a  glazed 
earthen  vessel  till  they  appear  of  a  transparent  yellow, 
on  a  gas  cooking-stove. 

Gold  Varnish  for  Wood  or  Metal. — One  ounce  of 
litharge  of  gold,  two  ounces  of  gum  sandrach,  four 
ounces  of  clarified  linseed  oil.  Boil  them  together  in  a 
glazed  earthen  vessel  to  a  transparent  yellow ;  to  be 
used  with  a  soft  brush. 

Bleached  Oil  for  Colorless  Varnish. — Cover  the  bot- 
tom of  a  four-gallon  vessel  with  white  lead,  to  the  depth 
of  about  six  inches,  nearly  fill  it  with  raw  linseed  oil ;  be 
careful  that  the  vessel  is  covered  with  glass  ;  this  is  neces- 
sary not  only  to  keep  the  dust  and  other  impurities  from 
it,  but  that  it  may  admit  the  light  and  hot  rays  of  the 
sun.  It  must  remain  exposed  to  the  sun  till  it  gets  fat 
and  colorless,  and  it  will  be  fit  for  use.  French  yellow 
is  an  excellent  substitute  for  white  lead,  and  is  used  by 
many  varnish-makers  in  preference,  as  it  speedily  draws 
the  coloring  matter  out  of  the  oil,  and  soon  renders  it 
suitable  for  the  varnish. 


ARTIST    AND   tradesman's    COMPANION.  77 

Of  the  various  colored  Varnishes,  with  instruction  for 
preparing  them. —  Glazing  on  Metallic  or  other  sub- 
stances. — Preparation  of  Foils,  c&c,  doc. 

Transparent  Green. — Artists  are  often  embarrassed  in 
regard  to  the  choice  of  coloring  matters,  when  they  are 
desirous  of  communicating  a  color  to  a  liquid  without 
injuring  its  transparency.  Some  coloring  parts  are  sus- 
ceptible of  being  dissolved  in  spirit  of  wine  and  in  oily 
substances,  but  not  in  water.  Some  saline  preparations 
of  copper  are  of  this  nature,  while  the  oxides  of  copper 
resist,  for  the  most  part,  the  action  of  water,  but  com- 
bine with  oily  liquors. 

Other  colors  require  mordants  of  an  acid  or  alkaline 
nature  before  they  combine  with  water,  and  are  incapa- 
ble of  union  with  oils.  Indigo,  litmus,  cochineal,  saffron, 
and  red  sandal  wood,  prove  the  truth  of  this  statement. 
To  make  the  transparent  green  varnish,  heat  a  quantity 
of  copal  varnish,  and  put  into  it,  small  quantities  at  a 
time,  powdered  verdigris,  (crystallized)  until  the  liquid 
possesses  the  properties  desired. 

Another  green  color. — The  green  carbonate  of  copper, 
obtained  by  precipitating  a  solution  of  copper  in  any 
acid,  by  a  solution  of  carbonate  of  potash,  if  washed 
and  dried,  and  then  mixed  with  copal  varnish,  gives  a 
beautiful  green  color.  It  is  inferior,  though,  to  the  pre- 
ceding composition. 

Another  green  color  by  composition. — This  green  may 
serve   as   an   illustration  of  the  theory  of  compound 


78  ARTIfeT    AND    TRADESMAN'S     COMPANION. 

colors.  The  mixture  of  two  simple  colors  produces  & 
compound  color,  the  tint  of  which  depends  on  the  re- 
spective quantities  employed.  The  varnish  colored  by 
turmeric  root  or  gamboge,  Nos.  15  and  16,  mixed  with 
the  following  varnish,  colored  by  Prussian  blue,  is  more 
beautiful,  smoother,  and  extensible  than  either  of  the 
green  varnishes  just  described. 

Blue  color. — Could  indigo  be  incorporated  with  copal 
varnish,  and  communicate  its  color  to  it,  persons  would 
not  be  obliged  to  prepare  this  color  from  a  substance 
which  alters  its  limpidity.  Prussian  blue  serves  as  the 
basis  of  this  color.  The  best  Prussian  blue  of  the  shops 
communicates  to  varnish  a  very  transparent  blue  color; 
but  it  has  not  that  richness  of  reflection  and  velvety 
appearance  so  agreeable  to  the  eye  when  the  extension 
of  which  it  is  capable  without  being  weakened,  has  been 
given  to  it. 

When  extended  over  a  metallic  plate,  there  are  some- 
times grains  observed  in  it,  which  may  be  owing  to  its 
incomplete  division,  or  to  the  separation  of  some  earthy 
matter,  which  even  the  best  Prussian  blue  of  the  shops 
usually  contains.  This  blue,  when  in  a  state  of  purit}', 
unites  so  completely  with  copal  varnish  that  its  trans- 
parency does  not  seem  to  be  in  the  least  affected  by  it. 

Superb  liquid  Hue. — Sometimes  it  is  the  case  that 
circumstances  will  occur  to  require  the  application  of 
copal  varnish  to  a  color  which  may  have  been  mixed  up 
with  a  gummy  or  mucilaginous  liquid.     These  circum 
stances  arise  from  the  accidents  which  happen  to  enamel. 


ARTIST   AND    TRADESMAN'S    COMPANION.  79 

Opaque  enamels  resist  the  action  of  a  mirieral  acid  ; 
and;  in  like  manner,  transparent  enamels,  applied  to  gold 
and  silver,  may  be  repaired  with  colors,  having  mineral 
acids  for  their  mordant,  attention  being  paid  to  their 
particular  affinities.  In  regard  to  metals,  the  texture  of 
which  is  inferior  to  that  of  gold  or  silver,  colors  with  a 
mordant  can  be  applied  only  by  means  of  a  gummy 
juice  capable  of  defending  the  metallic  plate  from  the 
action  of  the  mordant. 

The  composition  of  the  color  about  to  be  described, 
as  well  as  that  from  indigo,  which  will  be  spoken  of 
hereafter,  belongs  to  those  which  require  this  preliminary 
precaution.  Put  into  a  small  matrass  or  phial,  an  ounce 
of  fine  Prussian  blue,  reduced  to  powder,  and  pour  upon 
it  from  an  ounce  and  a  half  to  two  ounces  of  strong 
muriatic  acid.  The  mixture  produces  an  effervescence, 
and  the  Prussian  blue  soon  assumes  the  consistence  of 
thin  paste. 

Leave  it  in  this  state  for  twenty-four  hours ;  then 
dilute  it  with  eight  or  nine  ounces  of  water,  and  pre- 
serve the  color  thus  diluted  in  a  bottle  well  stopped. 
The  intensity  of  this  color,  which  is  very  dark,  may  be 
lessened  if  necessary  by  more  water.  If  the  whole  of 
this  mixture  be  poured  into  a  pint  or  more  of  water,  it 
will  still  be  sufficiently  dark  for  washing  prints.  This 
color,  charged  with  its  mordant,  requires  the  use  of  gum 
water,  made  with  gum  tragacanth.  Mucilage  of  gum 
arabic  does  not  possess  sufficient  consistence.  This 
color,  applied  with  gum  water,  and  covered  when  dry 
with  copal  varnish,  would  form  very  beautiful  foil. 


80  ARTIST    AND    TRADESMAN'S    COMPANION. 

Yellow. — Turmeric-root  and  gamboge  give  very  beau- 
tiful yellows,  and  readily  communicate  their  color  to 
copal  varnish  made  with  turpentine.  Aloes  give  a  va- 
ried and  orange  tint. 

Dark  red. — Dragon's  blood,  digested  in  warm  varnish, 
gives  reds,  the  intensity  of  which  depends  upon  the  quan- 
tity of  the  coloring  resin  which  combines  with  varnish. 
The  artist,  therefore,  has  it  in  his  power  to  vary  the 
tones  at  pleasure.  Though  cochineal,  in  a  state  of  divi- 
sion, gives  very  little  color  to  oil  of  turpentine  in  com- 
parison to  that  which  it  communicates  to  water,  carmine 
may  be  introduced  into  the  composition  of  varnish,  co- 
lored by  dragon's  blood.  The  result  will  be  a  purple 
red. 

Violet. — A  mixture  of  carminated  varnish  and  dra- 
gon's blood,  added  to  that  colored  by  Prussian  blue, 
produces  violet.  From  these  examples  of  the  commu- 
nication of  colors  to  copal  varnish,  every  person  habit- 
uated to  the  operations  of  this  art,  and  every  amateur 
possessed  of  dexterity  may  readily  prepare  any  color  he 
desires. 

From  what  has  been  already  said,  the  reader  must  be 
convinced  that  copal  varnish,  if  carefully  applied,  is  ca- 
pable of  producing  great  richness,  splendor,  and  solidity, 
when  extended  over  surfaces  which  are  themselves  pos- 
sessed of  splendor,  as  is  the  case  with  metallic  sub- 
stances. 

This  quality  renders  it  proper  for  articles  subject  to 
percussion   or   to   continued  friction,  and   exposed   to 


ARTIST    AND    TRADESMAN'S    COMPANION.  81 

humidity.  The  application  of  a  varnish  sufficiently 
solid  to  resist  these,  and  sufficiently  transparent  to  pre- 
serve and  even  to  increase  the  original  metallic  splendor, 
must  add,  in  a  considerable  degree,  to  the  value  of  the 
articles.  When  the  copal  varnish  is  designed  for  small 
articles,  as  a  particular  distribution  of  the  colors  is  not 
required,  it  may  be  applied  as  well  by  an  amateur  as 
by  a  professed  varnisher. 

But  if  large  articles  are  to  be  varnished,  the  applica- 
tion of  it  requires  practice  and  great  care.  One  of  the 
essential  conditions  relates  to  the  state  of  the  metallic 
surface.  It  must  be  extremely  well  polished,  and  then 
be  heated  on  an  iron  plate  placed  over  a  chafing-dish, 
till  the  hand  can  scarcely  bear  to  touch  it ;  and  the  heat 
must  be  equal  in  every  part  of  it.  When  this  is  done, 
dip  a  large  flat  brush,  made  of  very  soft  hair,  in  the 
varnish,  and  draw  it  gently  over  the  whole  surface.  This 
operation  requires  dexterity,  that  the  diffiirent  strokes 
of  the  brush  may  not  be  observed.  It  will,  therefore, 
be  proper  not  to  load  the  brush  with  too  much  varnish 
at  once.  If  these  precautions  are  neglected,  the  surface 
of  the  metal  will  exhibit  undulations,  and  very  often  it 
will  be  spotted. 

Turned  articles,  if  varnished  while  in  the  lathe,  by 
means  of  heat,  will  always  be  attended  with  the  greatest 
success,  because  the  extension  of  the  vaniish  is  more 
uniform,  and  the  operation  facilitates  the  polishing. 
When  undulations  are  observed,  this  defect  may  be,  in 
part,  remedied  by  bringing  the  article  near  the  iron 
plate  without  actual  contact.     A  gentle  heat  renders  the 

4* 


82  ARTIST    AND    TRADESMAN'S    COMPANION. 

varnish  more  uniform.  If  a  gold  color  be  required,  two 
or  three  successive  coatings  of  colored  and  changing 
varnish  may  be  applied,  and  these  must  be  covered  by 
another  coat  of  the  uncolored  copal  varnish.  No.  18. 

The  coloring  parts  of  the  changing  varnish  of  the  third 
class,  No.  15,  may  be  also  communicated  to  the  copal 
varnish,  or  the  varnish  No.  22,  made  with  copal  of  one 
infusion,  may  be  employed.  If  particular  circumstances, 
determined  by  the  nature  of  the  article  intended  to  be 
varnished,  prevent  its  being  heated,  the  varnish  must  be 
applied  cold  ;  but  the  article  may  be  brought  near  to 
the  fire  or  exposed  in  a  stove,  the  heat  of  which  disposes 
the  varnish  to  extend  itself  in  a  more  uniform  manner, 
and  to  appear  with  its  whole  lustre. 

A  bright  sun  and  pure  air  produce  the  same  effect. 

If  these  kinds  of  varnish  become  stained  by  use,  the 
article  must  be  washed  M'ith  warm  water,  and  wiped 
with  a  piece  of  linen  rag.  The  contact  of  hard  bodies 
is  hurtful  to  them.  If  the  case  require  it,  a  little  soap 
may  be  added  to  the  warm  water. 

Observations  on  the  application  of  Copal  Varnish  for 
repairing  Opaque  Enamel. 

The  properties  possessed  by  these  varnishes,  which 
render  them  proper  for  supplying  the  vitreous  and  trans- 
parent coating  of  enamel,  with  a  coloring  equally  bril- 
liant, but  more  solid,  and  which  adheres  to  vitreous 
compositions  and  to  metallic  surfaces,  admit  of  their 
being  applied  to  other  purposes.     By  slight  modifica- 


ARTIST    AND    TRADESMAN'S    COMPANION.  83 

tions  they  may  be  used  also  for  repairing  opaque  en- 
amel which  has  been  broken.  These  kinds  of  enamel 
may  be  repaired  either  by  colored  cements  or  by  colored 
copal  varnish,  applied  superficially. 

On  this  account  they  are  attended  with  less  difficulty 
in  repairing  than  transparent  enamel,  because  they  do 
not  require  the  same  reflection  of  light.  The  intention 
of  the  artist  will  be  answered  by  compositions  of  paste, 
the  different  grounds  of  which  harmonize  with  the  colors 
or  ground  of  the  piece  to  be  repaired,  and  which  may 
be  strengthened  by  the  same  tint  introduced  into  the 
solid  varnish  with  which  the  articles  are  glazed.  The 
base  of  the  cement  should  be  pure  white,  dry  clay.  If 
solidity  be  required,  white  lead  is  the  only  substance 
that  can  be  substituted  for  it. 

Drying  oil  of  poppy  will  form  an  excellent  vehicle, 
and  the  consistence  of  the  cement  ought  to  be  such  that, 
it  can  be  easily  extended  by  a  knife  or  spatula,  of  a 
moderate  degree  of  flexibility.  This  sort  of  paste  soon 
dries.  It  has  the  advantage  also  of  forming  a  ground 
which  contributes  to  the  solidity  of  the  colors  applied 
to  it  with  a  brush.  The  varnish,  No.  1,  of  the  first 
class,  is  very  drying.  The  application  of  it  will  be 
proper  in  cases  when  the  speedy  repair  of  the  damaged 
articles  is  required.  In  more  urgent  cases,  the  paste 
may  be  composed  of  white  lead  and  the  copal  varnish 
No.  18,  which  dries  more  speedily  than  oil  of  poppy ; 
and  the  colors  may  then  be  glazed  with  the  etherous 
copal  varnish  of  the  fourth  class,  No.  17.  The  applica- 
tion of  the  paste  will  be  necessary  only  in  cases  when 


84  ARTIST    AND    TRADESMAN'S    COMPANION. 

the  accident  which  has  happened  to  the  enamel  leaves 
too  great  vacuity  to  be  filled  up  by  several  coats  of 
colored  varnish. 

But  in  all  cases,  the  varnish  ought  to  be  well  dried, 
that  it  may  acquire  its  full  lustre  by  polishing.  Though 
it  may  be  more  convenient  to  apply  the  paste,  and  then 
to  color  it  superficially  by  coats  of  the  requisite  colors, 
cases  may  occur  in  which  a  preference  ought  to  be  given 
to  colored  cements ;  and,  though  any  artist  may  easily 
determine  the  kind  of  matter  proper  for  the  purpose,  it 
will  no  doubt  be  of  some  utility  to  give  a  short  view  of 
the  coloring  substances  recommended  by  the  experience 
of  the  best  artists. 

White. — Spanish  white,  white  lead,  white  clay.  Such 
of  these  substances  as  are  preferred  ought  to  be  care- 
fully dried.  "White  lead  and  clays  obstinately  retain  a 
great  deal  of  humidity,  which  prevents  their  adhesion  to 
drying  oil  or  to  varnish.  The  cement  then  crumbles 
under  the  fingers,  and  does  not  acquire  a  body. 

Black. — Lamp  black,  black  made  of  burnt  vine- twigs, 
black  of  peach-stones.  The  lamp  black  must  be  care- 
fully washed,  and  afterwards  dried.  Washing  carries 
off  a  great  many  of  its  impurities. 

Yellow. — Patent  and  Naples  yellows,  reduced  to  im- 
palpable powder.  These  yellows  are  damaged  by  the 
contact  of  iron  and  steel :  in  mixing  them  up,  therefore, 
an  ivory  spatula  and  glass  mortar  and  pestle  must  be 
employed.  Dutch  yellow  ochre,  or  gamboge,  according 
to  the  nature  and  tone  of  the  color  to  be  imitated 


ARTIST    AND    TRADESMAN'S    COMPANION.  85 

Bliie. — Indigo,  Prussian  blue,  blue  verditer,  and  ul- 
tramarine. All  these  substances  must  be  finely  pow- 
dered. 

Green. — Verdigris,  crystallized  or  distilled  verdigris. 
Compound  green,  a  mixture  of  yellow  and  blue.  The 
first  two  require  a  mixture  of  white  in  proper  propor- 
tions, from  a  fourth  to  two-thirds,  according  to  the  tint 
intended  to  be  given.  The  white  used  for  this  purpose 
is  white  lead,  or  Spanish  white,  which  is  less  solid. 

Red. — ^^Vermilion,  red  lead,  different  red  ochres,  or 
Prussian  reds,  &c. 

Purple. — Cochineal,  carmine,  and  carminated  lakes, 
with  white  lead  and  boiled  oil. 

Brick  red. — Dragon's  blood. 

Buff  color. — Dragon's  blood,  with  a  paste  composed 
of  flowers  of  zinc,  or,  what  is  still  better,  a  little  ver- 
milion. 

Violet. — Vermilion  mixed  with  washed  and  very  dry 
lamp  black,  or  with  the  black  of  burnt  vine-twigs  :  and, 
to  render  it  mellower,  a  proper  mixture  of  red,  blue, 
and  white. 

Pearl  gray. — White  and  black,  white  and  blue.  For 
example,  white  lead  and  lamp  black,  white  lead  and 
indigo. 

It  is  well  known  that  these  mixtures  cannot  be  sub- 
jected to  fixed  rules,  in  regard  to  the  quantity  of  the 
matters  which  enter  into  their  composition.     They  must 


86  ARTIST    AND    TRADESMAN'S    COMPANION. 

depend  on  the  taste  of  the  artist,  and  the  shade  which 
he  is  desirous  of  giving  to  the  color. 

All  these  different  methods  resemble  a  lucrative  kind 
of  painting,  which  gives  employment  to  a  number  of 
hands  ;  namely,  the  preparation  of  foils,  or  colored 
lamince,  used  with  so  much  success  in  the  manufacturing 
of  buttons  in  embroidery,  and  for  ornamenting  a  variety 
of  toys,  of  which  there  is  a  very  extensive  and  daily 
consumption.  These  very  thin  laminae  of  silver,  cop- 
per, brass,  or  tin,  perform  the  same  office,  under  the 
name  of  foil,  and  may  be  distinguished  by  the  name  of 
"  false  enamel,"  as  enamel  covered  with  colored  or  un- 
colored  copal  varnish. 

If  the  latter  seem  to  differ  from  foil,  by  their  con- 
sistence which  depends  upon  the  thickness  of  the  metal- 
lic laminae,  and  the  repeated  application  of  coats  of 
varnish  ;  if  they  differ  also  in  the  nature  of  the  varnish 
itself,  the  use  of  which  does  not  include  the  "  sauces," 
(by  this  term  is  meant  the  composition  employed  in 
making  foil)  that  constitute  the  coloring  part  of  foil, 
they  certainly  seem  to  have  some  resemblance  in  the 
nature  of  their  composition.  To  gratify  those  who  may 
desire  to  unite  the  preparation  of  foils  to  that  of  var- 
nishes, all  the  information  which  could  be  obtained  on 
the  subject,  is  here  given. 

Preparation  of  Foil. 

It  will  be  remembered  by  the  reader,  that  some  co- 
loring substances,  of  an  extracto-gummy  nature,  dissolve 


ARTIST    AND    TRADESMAN  S    COMPANION.  87 

more  readily  in  water  than  in  spirit  of  wine  or  essential 
oils ;  that  other  colors,  those  prepared  from  mineral 
substances,  as  Prussian  blue,  &;c.,  are  only  minutely 
divided  without  being  dissolved.  When  the  nature  of 
the  coloring  parts  which  ornament  different  kinds  of  foil 
is  examined,  it  does  not  always  appear  to  be  owing  to 
colored  varnishes.  Some  of  these  coloring  parts  belong 
to  that  kind  of  compositions  called  "  sauce,"  covered 
afterwards  with  a  transparent  varnish  which  preserves 
them  from  the  influence  of  moisture,  and  which  pro- 
duces with  the  metallic  splendor  that  beautiful  effect 
with  which  they  are  generally  attended. 

The  processes  may  be  varied,  with  regard  to  the  tone 
and  shades  of  the  colors,  which  may  be  easily  rendered 
stronger  or  weaker.  Those  which  are  described  below 
have  produced,  to  a  great  extent,  the  desired  effect. 

Preparation  the  first. — Immerse  isinglass  in  pure  spring 
water  for  twenty-four  hours,  and  boil  it  to  complete  so- 
lution. Strain  the  whole  through  a  double  piece  of 
linen,  or  a  piece  of  flannel,  and  evaporate  till  a  trem- 
bling jelly  is  formed. 

Preparation  the  second. — Dip  the  polished  metallic 
leaves  of  copper,  brass,  or  tin,  (the  latter  are  only  em- 
ployed for  gilt  leather  and  for  decorating  papier  mache) 
which  you  wish  to  color,  in  water  mixed  with  a  little 
aquafortis  ;  for  example,  an  eighth,  a  tenth,  or  a  twelfth 
part  of  acid.  This  immersion  renders  the  surface  of 
the  metal  rough.     Then  wipe  it  carefully  immediately, 


88  ARTIST    AND    TRADESMAN'S    COMPANION. 

and,  having  applied  the  isinglass,  suffer  it  to  dry,  that  it 
may  receive  the  color. 

Blue  color. — The  beautiful  liquid  glue,  the  composi- 
tion of  which  has  been  given,  may  be  employed  for  this 
purpose.  Leaves  of  silver  or  copper  ought  to  be  pre- 
ferred to  those  of  brass,  when  colors  with  a  mordant 
are  applied.  Any  degree  of  dilution  may  be  given  to 
this  blue  by  the  addition  of  common  water. 

Another  blue. — Take  one  part  of  indigo  and  put  it 
into  a  phial  placed  in  hot  sand,  with  two  parts  of  sul- 
phuric acid.  When  the  effervescence  which  takes  place 
nas  subsided,  add  ten  or  twelve  parts  of  pure  water. 
This  kind  of  solution  renders  the  blue  very  beautiful. 
The  observations  made  in  treating  of  the  preceding  blue, 
in  regard  to  the  nature  of  metallic  laminae,  may  be  ap- 
plied to  this  kind  of  color.  They  ought  to  be  copper  or 
silver, 

Crreen. — A  compound  green  may  be  made  by  mixing 
a  decoction  of  yellow  berries  with  a  little  blue  liquor. 
It  may  be  prepared  also  by  the  immediate  employment 
of  a  solution  of  distilled  verdigris,  such  as  that  de- 
scribed under  this  head.  The  sea-green  may  likewise 
be  imitated. 

Red. — A  dark  red  may  be  extracted  from  a  decoction 
of  cochineal,  the  tint  of  which  can  be  varied  by  means 
of  a  large  proportion  of  water.  This  red  rather  inclines 
to  purple.  The  red  of  saunder's  wood  may  be  extracted 
by  spirit  of  wine  the  evaporation  of  which  will  furnish 


ARTIST    AND    TRADESMAN'S    COMPANION.  89 

the  means  of  concentrating  the  coloring  part.  The 
coloring  principle  may  be  extracted  also  by  water,  which 
must  afterwards  be  evaporated,  and  the  extract  in  them 
mixed  with  spirit  of  wine.  A  process  nearly  similar 
may  be  employed  to  apply  the  rose  color  of  bastard 
saffron  to  foil.  This  coloring  part  is  soluble  in  car- 
bonate of  soda.  It  is  precipitated  from  the  soda  by 
means  of  the  acid  of  lemon  juice,  which  combines  with 
the  alkali.  For  the  present  operation,  this  coloring  part 
is  separated  from  the  supernatant  water  by  means  of 
some  slips  of  cotton  cloth,  or  cotton  wicks,  one  end  of 
which  is  immersed  in  the  liquid,  while  the  other  hangs 
over  the  edge  of  the  vessel. 

All  the  water  is  thus  drawn  off  as  if  through  a  filter. 
The  coloring  part  is  then  mixed  with  rectified  spirit  of 
wine,  and  spread  over  the  metallic  surfaces  in  successive 
layers. 

Violet. — The  coloring  part  of  litmus  dissolves  readily 
in  water,  and  produces  a  coarse  violet.  It  may  be 
brightened  by  using  rectified  spirit  of  wine,  which  dis- 
solves it  as  well  as  water.  The  coloring  part  of  litmus 
is  held  in  solution  by  liquor  ammonia.  The  coloring 
part  which  has  dissolved  in  water,  in  the  case  of  an 
aqueous  decoction,  is  precipitated  by  the  addition  of  a 
little  acid  of  lemon  :  it  then  subsides  to  the  bottom  ol 
the  vessel. 

To  separate  the  supernatant  water,  the  same  kind  of 
filtration  as  that  used  for  the  decoction  of  bastard  safTron, 
may  be  employed.     Concentrated  decoction  of  litmus, 


90  ARTIST    AND    TRADESMAN'S     COMPANION. 

applied  to  metallic  laminae,  furnishes  a  speedy  method 
of  coloring. 

Lilac. — Tie  up  the  litmus  in  a  cloth,  and  immerse  it 
in  water  till  it  gives  only  a  rose  color.  Then  boil  it  in 
more  water,  in  which  the  remaining  color  will  be  con- 
centrated, and  apply  this  decoction  cold  to  the  metallic 
laminae,  prepared  with  a  solution  of  fish-glue. 

Ruby  color. — Boil  carmine,  or  carminated  lake,  in 
water,  and  when  the  decoction  rises,  add  a  few  drops  of 
the  liquor  of  ammonia.  Suffer  the  decoction  to  form  a 
deposit  when  cold,  and  employ  it  without  filtration.  A 
decoction  of  cochineal  might  be  substituted  for  the  car- 
mine or  the  lake. 

Rose  color. — To  make  rose  color,  add  to  the  preceding 
a  fresh  quantity  of  water,  until  it  is  brought  to  the  re- 
quired tone.  Bastard  saffron  gives  different  shades  of 
rose  color.  A  decoction  of  Brazil-wood,  mixed  with  a 
solution  of  tin  in  aqua  regia,  gives  also  tones  of  rose 
color. 

Poppy  red. — Spread  a  stratum  of  the  ruby  color,  and 
over  it  another  of  infusion  of  safii'on,  prepared  by  mo- 
deration in  cold  water  for  forty-eight  hours. 

Capuchin  color,  yellow,  and  jonquil,  may  be  made  in 
this  manner  by  varying  the  intensity  of  color. 

Plum  color,  and  other  browns. — A  stratum  of  lilac 
color,  and  over  it  a  stratum  of  green  or  blue. 

The  second  and  third  coats  of  colors  oucht  not  to  be 
applied  till  the  preceding  is  perfectly  dry.     Care  must 


ARTIST    AND    TRADESMAN'S    COMPANION.  91 

be  taken  also  not  to  pass  several  times  over  the  same 
place,  because  the  new  color,  though  cold,  loosens  the 
former.  It  is,  therefore,  always  advantageous  to  give 
to  the  color  a  very  dark  tint,  because  it  saves  the  trouble 
of  going  too  often  over  the  same  surface.  These  dif- 
ferent tints  of  colors  would  not  have  the  durability  of 
foil,  and  would  be  easily  effaced  by  moisture,  were  they 
not  preserved  by  being  covered  with  varnish. 

The  varnishes  generally  appropriated  to  articles  of 
this  kind,  are  those  w'hich  compose  the  first  class  ;  that 
is,  drying  varnishes  made  with  spirit  of  wine.  Nos.  1, 
2,  and  3,  therefore,  may  be  employed  in  such  cases  ; 
and,  for  the  better  preservation  of  the  copal  varnish. 
No.  18  or  No.  22,  of  the  fourth  class,  may  be  used.  At 
first  it  will  emit  some  smell,  but  this  may  be  remedied 
by  a  coating  of  spirituous  varnish.  Articles  of  this 
kind  do  not  require  much  durability  in  the  varnish. 


Of  the  process  for  preparing  Waxed  or  Varnished  Cloth, 
Varnished  Silk,  Court  Plaster,  various  methods  of 
Staining  Wood,  dec. 

Common  Wax-Cloth,  or  Varnished  Cloth. — The  manu- 
facture of  this  kind  of  cloth  is  very  simple,  and  may  be 
carried  on  at  very  little  expense.  The  cloth  and  linseed 
oil  are  the  principal  articles  required  for  the  establish- 
ment. Common  canvas,  of  an  open  and  coarse  texture, 
is  extended  on  large  frames,  placed  under  sheds,  the 
sides  of  which  are  open,  so  as  to  afford  a  free  passage 


92  ARTIST    AND    TRADESMAN'S    COMPANION. 

to  the  external  air.  The  manner  in  which  the  cloth  is 
fastened  to  these  frames  is  very  simple  and  convenient, 
as,  when  it  becomes  slackened,  during  the  application 
of  the  varnish-paste,  it  can  be  again  tightened.  It  is 
fixed  to  each  side  of  the  frame  by  a  kind  of  hooks, 
which  catch  the  edge  of  the  cloth,  and  by  pieces  of 
strong  pack-thread  passing  through  holes  at  the  other 
extremity  of  the  hooks,  which  are  tied  round  movable 
pegs  placed  in  the  lower  edge  of  the  frame. 

The  mechanism  by  which  the  strings  of  a  violin  are 
stretched  or  unstretched,  will  give  some  idea  of  the 
arrangement  of  the  pegs  employed  for  extending  the 
cloth  in  this  apparatus.  By  these  means  the  cloth  can 
be  easily  stretched  or  relaxed,  as  the  oily  varnish  may 
require,  in  the  course  of  the  operation.  The  whole  being 
thus  arranged,  a  liquid  paste,  made  with  drying  oil, 
which  may  be  varied  at  pleasure,  is  applied  to  the 
cloth. 

Liquid  Paste  with  Drying  Oil. — Mix  Spanish  white  or 
tobacco-pipe  clay,  or  any  other  argillaceous  matter,  with 
water,  and  leave  it  at  rest  some  hours,  which  will  be 
sufficient  to  separate  the  argillaceous  parts,  and  to  pro- 
duce a  sediment.  Stir  the  sediment  with  a  broom,  to 
complete  the  division  of  the  earth ;  and  after  it  has 
rested  some  seconds,  decant  the  turbid  water  into  an 
earthern  or  wooden  vessel. 

By  this  process  the  earth  will  be  separated  from  the 
sand  and  other  foreign  bodies,  which  subside,  and  must 
be  thrown  away.  If  the  earth  has  been  washed  by  the 
same  process,  on  a  large  scale,  it  is  divided  by  kneading 


ARTIST    AND    TRADESMAN'S    COMPANION.  93 

it.  The  supernatant  water  is  thrown  aside,  and  the  sedi- 
ment is  placed  in  sieves,  on  pieces  of  cloth,  where  it  is 
suffered  to  drain  ;  it  is  then  mixed  up  with  oil,  rendered 
drying  by  a  large  proportion  of  litharge,  that  is  to  say, 
about  a  fourth  of  the  weight  of  the  oil.  The  consistence 
of  thin  paste  being  given  to  the  mixture,  it  is  spread 
over  the  cloth  by  means  of  an  iron  spatula,  the  length 
of  which  is  equal  to  that  of  the  breadth  of  the  cloth. 
Though  the  earth  is  mixed  in  this  manner  still  contains 
water,  it  readily  unites  with  the  boiled  oil.  The  water 
passes  into  the  tissue  of  the  cloth,  which  facilitates  its 
evaporation,  and  the  cloth  at  the  same  time  acquires  the 
property  of  not  becoming  too  much  penetrated  by  the 
oily  varnish. 

However  liquid  the  varnish  may  be,  it  does  not 
transude  to  the  inferior  surface  of  the  cloth.  When  the 
first  stratum  is  dry,  a  second  is  applied.  The  inequali- 
ties produced  by  the  coarsenees  of  the  cloth,  or  by  an 
unequal  extension  of  the  paste,  are  smoothed  down  with 
a  pumice-stone.  The  pumice-stone  is  reduced  to  pow- 
der and  rubbed  over  the  cloth  with  a  piece  of  soft  soap 
or  cork  dipped  in  water.  A  whole  pumice-stone,  one  of 
the  faces  of  which  has  been  ground  smooth,  may  also 
be  employed. 

The  cloth  must  then  be  well  washed  in  water  to  clean 
it ;  and,  after  being  suffered  to  dry,  a  varnish  of  gum 
lac,  dissolved  in  linseed  oil  boiled  with  turpentine,  and 
which  is  liquefied  with  oil  of  turpentine,  if  necessary,  is 
then  applied  to  it.  This  preparation  produces  yellow- 
ish-colored varnished  cloth.     When  you  are  desirous  of 


94''  ARTIST   AUD    TRADESMAN'S    COMPANION. 

rendering  it  black,  nothing  will  be  necessary  but  to  mix 
iamp-black  with  the  Spanish  white,  or  tobacco-pipe  clay, 
which  forms  the  basis  of  the  liquid  paste.  Various 
shades  of  gray  may  be  obtained  according  to  the  quan- 
tity of  the  lamp-black  which  is  added.  Amber  and 
different  ochrey  argillaceous  earths  may  be  used  to  vary 
the  tints,  without  causing  any  addition  to  the  expense. 

Fine  printed  varnished  cloth. — The  process  just  de- 
scribed for  manufacturing  common  varnished  and  polish- 
ed cloths,  may  serve  to  give  some  idea  of  that  employed 
for  making  fine  cloths  of  the  same  kind,  decorated  with 
a  colored  impression.  At  first  this  kind  of  manufacture 
was  confined  to  common  cloths  with  a  smooth  ground 
of  different  colors. 

However,  industry  has  given  it  a  greater  extent,  by 
finding  on  the  palette  of  the  painter  all  those  materials 
capable  of  making  this. art  rival  that  of  printed  cloths. 
The  firmness  of  the  texture  of  the  cloth,  still  increased 
by  that  of  a  pliable  covering  impermeable  to  water,  has 
opened  a  very  lucrative  sale  for  this  kind  of  manufac- 
ture, in  consequence  of  a  more  careful  application  of  the 
colors,  which  could  be  subjected  to  all  the  rules  of  de- 
sign. 

The  Germans  were  the  first  to  manufacture  varnished 
cloths  embellished  with  large  and  small  objects,  figures, 
and  landscapes,  and  which,  being  designed  for  covering 
furniture  subjected  to  daily  use,  gave  certain  support  to 
this  branch  of  industry. 

This  process,  which  is  only  an  improvement  of  the 


ARTIST  AKD    TRADESMAN'S    COMPANION.  95 

former,  requires  a  finer  paste,  and  cloth  of  a  more  deli- 
cate  texture.  The  stratum  of  paste  is  applied  in  the 
same  manner,  and  when  dry  and  polished,  the  cloth  is 
taken  from  the  frame  and  removed  to  the  painter's  table, 
where  the  art  of  the  colorist  and  designer  is  displayed 
under  a  thousand  forms ;  and,  as  in  that  of  printed  cot- 
tons, exhibits  a  richness  of  tints  and  a  distribution  of 
subjects  which  discover  taste  and  ensure  a  ready  sale 
for  the  articles  manufactured.  The  processes  employed 
in  these  two  arts  to  extract  the  coloring,  are  not  the 
same. 

In  the  art  of  cotton-printing,  the  colors  are  extracted 
by  solution,  as  in  that  of  dyeing.  In  printing  varnished 
cloths,  the  coloring  parts  are  the  result  of  the  union  of 
drying  oil  mixed  with  varnish,  and  the  different  colors 
employed  in  oil  painting  or  painting  in  varnish.  The 
varnish  applied  to  common  oil-cloth  is  composed  of  gum 
lac  and  dryuig  linseed  oil ;  but  that  designed  for  print- 
ing varnished  cloths  requires  some  choice,  both  in  regard 
to  the  oil  and  to  the  resinous  matter  which  gives  it 
consistence. 

Prepared  oil  of  poppy  and  copal  form  a  pliable  and 
solid  varnish,  possessing  very  little  color.  The  unplea- 
sant smell  arising  from  oiled  or  varnished  cloths,  may 
be  removed  from  them  by  simply  exposing  them  to  the 
action  of  a  chlorine  fumigation  in  a  close  room. 

Varnished  Silk. — There  are  two  kinds  of  varnished 
silks — one  employed  for  making  umbrellas,  coverings 
for  hats,  &c. — and  the  other,  known  under  the  name  of 


9G  ARTIST    AND    TRADESMAN'S    COMPANION. 

"  sticking-plaster,"  or  "court-plaster."  The  first  is  pre 
pared  in  the  same  manner  as  the  varnished  and  polished 
cloths  already  described,  but  with  some  variation  in  the 
choice  of  the  matters  employed  to  make  the  liquid  paste 
or  varnish  with  which  the  silk  is  covered. 

The  basis  of  the  second  is  a  gelatinous  stratum,  which 
is  afterwards  covered  with  a  varnish  of  the  first  class ; 
that  is,  a  spirituous  varnish,  very  simple  in  its  compo- 
sition. For  the  preparation  of  the  former,  if  the  sur- 
face of  the  silk  be  pretty  large,  it  is  made  fast  to  a 
wooden  frame  furnished  with  hooks  and  movable  pegs, 
such  as  that  used  in  the  manufacture  of  common  var- 
nished cloths. 

A  certain  quantity  of  soft  paste,  composed  of  linseed 
oil,  boiled  with  a  fourth  part  of  litharge,  Spanish  white, 
or  tobacco-pipe  clay,  lamp-black,  and  litharge,  is  then 
prepared  in  nearly  the  following  proportions  :  Tobacco- 
pipe  clay,  dried  and  sifted  through  a  silk-sieve,  sixteen 
parts  ;  litharge,  ground  with  oil,  dried  and  sifted  in  the 
same  manner,  three  parts  ;  lamp-black,  one  part.  This 
paste  is  then  spread  in  an  uniform  manner  over  the  sur- 
face of  the  silk,  by  means  of  a  long  knife,  having  a 
handle  at  each  extremity.  In  summer  twenty-four  hours 
are  sufficient  for  its  dessication.  When  dry,  the  knot 
produced  by  the  inequalities  of  the  silk,  are  smoothed 
with  a  purnice-stone. 

This  operation  is  performed  with  water  ;  and,  when 
finished,  the  surface  of  the  silk  is  washed.  It  is  then 
suffered  to  dry,  and  the  copal  varnish  of  the  fifth  class, 
No.  23,  is  applied.     If  it  is  intended  to  polish  this  var 


ARTIST    AND    TRADESMAN'S    COMPANION.  97 

nish,  it  will  be  proper  to  apply  a  second  stratum,  after 
which  it  is  polished  with  a  ball  of  cloth  and  very  fine 
tripoli,  or  with  a  piece  of  strong  cloth  only.  The  var- 
nished silk  which  results  from  this  process  is  very  black, 
exceedingly  pliable,  and  has  a  fine  polish.  It  may  be 
rumpled  a  thousand  ways  without  retaining  any  fold,  or 
the  mark  of  a  fold. 

It  is  light ;  and  this  property  renders  it  proper  for 
coverings  to  hats,  and  for  making  cloaks  and  caps,  so 
useful  to  travellers  in  the  time  of  rain.  When  manu- 
facturers wish  to  turn  old  remnants  of  silk  to  advan- 
tage, whatever  may  be  their  color,  which  do  not  exceed 
half  a  yard  in  length,  they  think  it  sufficient  to  fasten 
them  to  frames  of  the  same  size  with  a  piece  of  pack- 
thread, keeping  them  as  much  stretched  as  possible. 
The  liquid  paste  is  then  poured  over  the  silk  in  small 
portions,  and  spread  out  by  means  of  a  common  knife 
with  a  round  point,  somewhat  like  that  of  a  table-knife, 
to  prevent  the  cloth  from  being  cut. 

The  handle  of  the  knife  stands  at  right  angles  to  the 
blade,  so  that  all  the  movements  required  for  extending 
the  paste  can  be  made  without  the  fingers  touching  the 
silk,  and  without  removing  the  blade  from  an  exactly 
horizontal  position.  A  little  practice  will  enable  the 
workman  to  render  the  surface  of  the  silk  as  smooth  in 
this  case  as  in  that  where  a  large  blade  is  employed  in 
the  operation  on  a  larger  scale.  In  the  last  place,  if  the 
silk  consists  of  long  narrow  bands,  the  mechanism  em 
ployed  for  making  two  or  three  yards  of  plaster  at  once 
may  be  used.    Provide  a  common  smooth  table,  eighteen 

5 


98  ARTIST   AND    TRADESMAN'S    COMPANION. 

or  twenty  inches  square,  and  placed  perfectly  horizon  tal 
At  the  two  extremities  of  this  table  let  there  be  fixed 
two  iron  screws  in  a  perpendicular  direction,  which  pass 
through  two  rings  at  the  extremities  of  an  iron  rule,  or 
blade,  which  stands  in  a  vertical  position,  and  which 
can  be  moved  nearer  to  or  further  from  the  table  by 
means  of  two  nuts  fitted  to  the  screws.  To  determine 
the  thickness  of  the  stratum  of  the  composition  to  be 
spread  over  the  cloth,  there  are  placed  close  to  the 
screws,  and  between  the  rule  and  the  table,  as  many 
squares  cut  from  a  common  card  as  may  be  necessary 
to  give  the  thickness  requii-ed  :  two  or  three  will  be 
sufficient. 

When  this  arrangement  has  been  made,  place  the 
ends  of  the  cloth  between  the  rule  and  the  table,  in  such 
a  manner  that  it  may  pass  beyond  the  former  about  an 
inch,  that  you  may  be  able  to  draw  it  towards  you 
during  the  operation  ;  then  pour  the  composition  on  the 
cloth  near  the  interior  side  of  the  rule,  in  such  a  manner 
as  to  cover  the  cloth  throughout  its  whole  breadth. 

Care  must  be  taken  to  make  the  matter  continue  run- 
ning, while  another  person  draws  the  cloth  towards  him, 
till  the  whole  length  of  it  has  been  subjected  to  the 
pressure  of  the  rule.  By  this  mechanism  the  stratum 
will  have  an  uniform  thickness,  and  will  be  so  even  as 
to  have  no  need  of  being  smoothed  with  pumice-stone. 
When  the  stratum  is  dry,  cover  it  with  copal  varnish. 
No.  23. 

By  pursuing  a  similar  plan,  and  using  a  like  compo- 
sition, a  beautiful  article  can  be  made  of  linen,  felt. 


ARTIST    AND    TRADESMAN'S    COMPANIOK.  99 

leather,  &c.,  which  is  impermeable  to  water.  It  is  thus 
that  the  patent  glazed  leather  is  made,  which,  when 
made  into  boots,  half-boots,  shoes,  &o.,  constitute  the 
most  beautiful  wearing  apparel  for  the  feet. 

Another  kind  of  Varnished  Silk. — A  kind  of  var- 
nished silk,  which  has  only  a  yellowish  color,  and  which 
suffers  the  texture  of  the  stuff  to  appear,  has  long  been 
in  use.  The  matter  employed  in  the  preparation  of  it 
is  a  plain  varnish.  The  silk  is  covered  with  a  mixture 
of  three  parts  boiled  oil  of  poppy,  and  one  part  of  fat 
copal  varnish,  which  is  spread  with  a  coarse  brush,  or 
with  a  knife. 

Two  coats  are  sufficient  when  the  oil  has  been  freed 
from  its  greasy  principles  over  a  slow  fire,  or  when  it  has 
been  boiled  with  a  fourth  part  of  its  weight  of  litharge. 
The  inequalities  are  removed  by  pumice-stone  and  water ; 
after  which  the  copal  varnish  is  applied.  This  simple 
operation  gives  a  yellowish  color  to  white  silk,  which 
arises  from  the  boiled  oil  and  the  varnish.  This  var- 
nished silk  possesses  all  those  qualities  ascribed  to  cer- 
tain preparations  of  silk  which  are  recommended  to  be 
worn  as  jackets  by  persons  subject  to  rheumatism. 

Court-Plaster. — The  preparation  of  court-plaster  is 
very  simple  :  the  basis  of  the  first  stratum  is  isinglass. 
Bruise  a  sufficient  quantity  of  isinglass,  and  let  it  soak 
for  twenty-four  hours  in  a  little  warm  water ;  expose  it 
to  heat  over  the  fire,  to  dissipate  the  greater  part  of  the 
water,  and  supply  its  place  by  proof  spirit  of  wine, 
which  will  combine  with  the  isinglass. 


100  ARTIST    AND    TRADESMAN'S    COMPANION. 

Strain  the  whole  through  a  piece  of  open  linen,  and 
take  care  that  the  quantity  of  the  solvent  be  such  that 
on  cooling  it  shall  form  a  trembling  jelly.  Extend  a 
piece  of  black  silk  on  a  wooden  frame,  and  fix  it  in  that 
position  by  means  of  tacks,  or  pack-thread  ;  then  with 
a  brush  made  of  badger's  hair,  apply  the  isinglass,  after 
it  has  been  exposed  to  a  gentle  heat,  to  render  it  liquid. 

When  this  stratum  is  dry,  which  will  soon  be  the 
case,  apply  a  second,  and  then  a  third,  if  you  are  de- 
sirous of  giving  the  plaster  a  certain  degree  of  thick- 
ness. As  soon  as  the  whole  is  dry,  cover  it  with  two 
or  three  coats  of  strong  tincture  of  balsam  of  Peru. 
This  is  the  genuine  "  English  court-plaster."  It  is  pliable 
and  never  breaks — characters  which  distinguish  it  from 
so  many  other  preparations  sold  under  the  same  name. 

This  article  has  been  adulterated  as  well  as  many 
others.  A  kind  of  plaster,  the  covering  of  which  is  very 
thick  and  brittle,  is  often  sold  under  the  same  name. 
The  fabricators  of  this  article,  instead  of  isinglass,  which 
is  dear,  employ  strong  common  glue,  which  they  cover 
with  spirituous  varnish,  like  those  of  the  first  class. 

This  plaster  cracks,  and  never  has  the  balsamic  odor 
by  which  the  real  English  court-plaster  is  particularly 
characterized.  To  detect  this  fraud,  nothing  will  be 
necessary  but  to  rub  it  a  little.  When  you  wish  to  use 
the  English  plaster,  moisten  it  with  saliva,  or  warm 
water,  on  the  side  opposite  to  that  which  is  varnished, 
and  it  will  adhere  quite  close  and  fast.  The  adulterated 
plaster  is  too  hard  to  adhere  by  so  simple  a  preparation  ; 
it  requires  to  be  moistened  on  the  varnished  side. 


ARTIST    AND    TRADESMAN'S    COMPANION.  101 

Numerous  processes  for  Staining  Wood, 

A  Bed  Stain. — Take  of 

Pearl-ash, 1  ounce. 

Brazil-wood,  in  chips,    .     .  1  pound. 
Water, 1  gallon. 

Let  them  stand  together  two  or  three  days,  during 
which  time  the  mixture  should  be  frequently  stirred  ; 
then  boil  it  for  two  or  three  hours  ;  and  while  boiling, 
hot,  brush  over  the  wood  intended  to  be  stained  three  or 
four  times,  or  oftener,  till  the  proper  tint  is  obtained. 

While  wet,  brush  it  over  with  a  solution  of  alum  in 
water,  made  in  the  proportion  of  two  ounces  of  alum  to 
a  quart  of  water. 

A  light  Red,  approaching  to  Pink. — Add  to  a  gallon 
of  the  above  infusion  two  additional  ounces  of  pearl- 
ash.  The  wood  in  this  case  should  be  often  brushed 
over  with  the  solution  of  alum.  By  increasing  the 
quantity  of  pearl-ash,  the  red  may  be  rendered  still 
paler ;  but  when  more  pearl-ash  is  added,  a  propor- 
tionate quantity  of  the  solution  of  alum  will  also  be 
required. 

A  very  dark  Red  Stain. — Take  of 

Salt  of  tartar,  ....  1  ounce. 
Logwood,  in  chips,  .  .  .  ^  pound. 
Water, 2  quarts. 

Boil  the  logwood  chips  in  the  water  till  it  becomes 
of  a  very  dark  red  color ;  then  add  the  salt  of  tartar, 


102  ARTIST    AND    TRADESMAN'S    COMPANION. 

and  boil  for  two  hours  more.     The  decoction  must  be 
applied  to  the  wood  boiling-hot. 

The  old  method  of  coloring  wood  red. — Dissolve  one 
ounce  of  dragon's  blood  in  one  pint  of  rectified  spirit  of 
wine  ;  brush  the  wood  over  with  this  varnish  till  it  ap- 
pears of  the  required  color. 

A  Yellow  Stain. — Take  of 

Turmeric-root,  in  powder,     .     1  ounce. 
Rectified  spirit  of  wine,     .     .  1  pint. 

Digest  for  four  days,  shaking  occasionally  the  mix- 
ture, when  it  may  be  strained  off  for  use.  Let  it  be 
applied  to  the  wood  by  brushing  it  over  three  or  four 
times,  taking  care  that  the  first  stain  is  dry  before  the 
second  is  applied.  If  the  color  be  required  of  a  reddish 
cast,  a  little  dragon's  blood  may  be  added  to  the 
mixture. 

Another  Yellow  Stain. — Take  of 

Alum, ^  ounce. 

French  berries,     ....  1  pound. 
Soft  water, 1  gallon. 

Boil  them  together  for  two  hours,  and  while  boiling 
brush  over  the  wood  with  the  decoction  till  it  becomes 
of  the  required  color.  After  the  stain  has  been  some 
hours  applied,  so  that  the  wood  is  become  quite  dry, 
brush  it  over  with  a  weak  solution  of  alum-water. 

Blue  Stains. — Wood  may  be  stained  blue  by  either 
a  solution  of  copper  or  of  indigo.  Copper  will  produce 
a  bright  color,  and  is  more  generally  practicable. 


ARTIST    AND    TRADESMAN'S    COMPANION.  103 

A  Blue  Stain  with  Cojiper. — Dissolve  copper-filings 
or  slips  in  aqua-fortis,  adding  the  filings  or  slips  to  the 
acid  till  all  effervescence  ceases  :  to  the  solution  add  of 
starch,  finely  powdered,  the  weight  of  one-fifth  of  the 
weight  of  the  copper  dissolved. 

Make  now  a  solution  of  pearl-ash  in  water ;  put  as 
much  of  this  solution  to  the  solution  of  copper  as  will 
cause  the  copper  to  precipitate  in  a  fine  green  powder. 
On  the  first  addition  of  the  pearl-ash  solution,  the  liquid 
will  appear  of  a  dark  muddy  green ;  but  by  adding 
more  of  the  pearl-ash  solution,  it  will  soon  become  cleai', 
and  the  precipitate  assumes  a  fine  green  color.  The 
clear  part  must  be  poured  off,  and  the  precipitate  washed 
in  three  or  four  quantities  of  clear  water,  till  the  water 
becomes  tasteless. 

Let  the  precipitate  be  dried  for  use ;  which  is,  in 
fact,  a  "  verditer.^''  After  the  wood  intended  to  be  stained 
has  been  brushed  over  in  a  similar  way,  as  described 
for  other  colors,  till  it  is  stained  a  dark  green,  make  a 
solution  consisting  of  two  ounces  of  pearl-ash  in  a  pint 
of  water,  and  brush  it  over  the  wood  boiling-hot,  when 
it  will  appear  of  a  fine  deep  blue  color. 

A  Green  Stain. — ^This  may  be  made  with  the  same 
precipitate  of  any  tint,  by  merely  melting  the  solution 
of  pearl-ash,  and  brushing  the  mixture  over  the  wood 
once  or  more,  according  to  the  required  tint. 

A  Blue  Stain  with  Indigo. — Dissolve  indigo  in  sul- 
phuric acid,  or  a  liquid  blue  may  be  thus  prepared  : 
Put  three  ounces  of  indigo,  in  powder,  to  one  pound  of 


104  ARTIST    AKD    TRADESMAN'S    COMPANION. 

sulphuric  acid.  When  the  indigo  is  dissolved,  which  it 
will  be  in  about  twenty-four  hours,  provided  the  mix- 
ture has  been  occasionally  stirred,  add  to  the  solution 
one  pint  of  boiling  water.  This  solution  must  be  ap- 
plied to  the  wood  boiling-hot.  Dissolve  by  boiling 
three  ounces  of  cream  of  tartar  in  a  quart  of  water  ; 
with  this  solution,  used  copiously,  brush  over  the  wood 
before  the  moisture  of  the  indigo  is  quite  absorbed. 

A  Purple  Stain. — Take  of 

Brazil-wood,  in  chips,  .  4  ounces. 
Logwood  chips,  ....  1  pound. 
Water, 1  gallon. 

Boil  these  together  for  two  or  three  hours.  The  de- 
coction must  be  applied  boiling-hot.  When  dry,  brush 
it  over  with  a  solution  containing  a  quarter  of  an  ounce 
of  pearl-ash  to  half  a  gallon  of  water.  This  solution 
must  be  carefully  used,  as  it  gradually  changes  its  color 
from  a  brown-red,  which  it  originally  is,  to  a  dark  blue 
purple,  and  therefore  its  effects  must  be  carefully  noted 
to  make  the  desired  color. 

A  Black  Stain. — Brush  the  wood  several  times  with 
the  hot  decoction  of  logwood  described  in  the  last  arti- 
cle, omitting  the  Brazil-wood  ;  next  prepare  an  infusion 
thus : 

Take  of  powdered  galls,      4  ounces. 
Water,  ....  2  quarts. 

Place  them  in  a  gentle  heat  for  three  or  four  days  ; 
brush  the  wood  over  with  this  infusion  three  or  four 


ARTIST    AND    TRADESMAN'S    COMPANION,  105 

times,  and  then  pass  over  the  wood  again  with  a  solu- 
tion composed  of  two  ounces  of  sulphate  of  iron,  and  a 
quart  of  water. 

A  very  fine  Black,  can  be  produced  by  brushing  the 
wood  several  times  with  a  solution  of  copper  in  aqua- 
fortis, and  afterwards  with  the  decoction  of  logwood, 
which  must  be  repeated  till  the  desired  color  is  obtained, 
and  then  the  greenness  of  the  copper  wholly  overcome. 

A  common  Black  Stain,  is  produced  by  immersing 
a  pound  of  iron  nails  into  half  a  gallon  of  vinegar,  with 
a  small  quantity  of  verdigris.  This  is  the  common 
black  stain  for  chairs ;  it  is  also  useful  to  mix  with 
colors  that  require  grain,  as  rosewood,  tulip,  (Ssc. 

Mahogany  Stains. — These  stains  are  very  useful,  and 
if  well  prepared  and  applied  to  suitable  wood,  resemble 
red  mahogany. 

A  Light-Red  Brown  Mahogany. — Take  of 
Fustic  chips,     ....     4  ounces. 
Madder-root,  in  powder,  .  ^  pound. 
Water, 1  gallon. 

Boil  together  for  two  or  more  hours.  This  decoction 
must  be  applied  to  the  wood  boiling-hot,  till  the  proper 
color  is  obtained.  If  the  grain  of  the  wood  be  not 
sufficiently  varied,  a  varnish  brush,  dipped  in  the  black 
stain  and  passed  lightly  over  the  wood  while  wet,  will 
greatly  improve  it,  and  give  it  the  appearance  of  dark 
Honduras  mahogany. 

5* 


106  ARTIST    AND    TRADESMAN'S    COMPANION. 

A  fine  Mahogany  Stain,  is  produced  by  mixing  the 
tincture  of  dragon's  blood  and  turmeric-root  in  spirit  of 
wine.     By  diminishing  or  increasing  the  proportion  of 
each  of  the  ingredients,  the  brown  stain  may  be  varied 
to  a  more  red  or  yellow  cast  at  pleasure. 
Spanish  Mahogany  Stain. — Take  of 

Madder-root,  in  powder,     .     ^  pound. 

Fustic  chips, 1  ounce. 

Logwood  chips,   ....     2  ounces. 

Water, 1  gallon. 

Boil  for  two  or  three  hours.  Apply  the  decoction 
boiling-hot.  When  the  wood  has  been  brushed  over 
several  times,  and  is  become  dry,  let  it  be  slightly 
brushed  over  with  a  solution  of  a  quarter  of  an  ounce 
of  pearl-ash  in  a  quart  of  water.  Any  stain  of  inter- 
mediate colors  may  be  made  by  varying  the  proportion 
of  the  ingredients. 

Fancy  Woods. — The  preceding  stains  may,  by  judi- 
cious management,  be  combined  in  various  ways,  so  as 
to  represent  many  variegated  woods.  Rosewood  in 
particular  may  thus  be  imitated. 

Rosewood  Stains. — The  articles  chiefly  stained  to  imi- 
tate rosewood  are  chairs,  which  are  commonly  for  such 
purposes  made  of  beech.  They  are  usually  dipped  in 
a  large  copper  containing  the  boiling  red  stain,  then 
taken  out  and  dried  before  they  are  dipped  again.  When 
the  red  stain  is  acquired,  a  flat  varnish-brush,  having  its 
hairs  separated,  is  dipped  in  the  black  stain,  and  drawn 
over  the  chairs  which  are  stained  red. 


ARTIST    AND   TRADESMAN'S    COMPANION.  107 

The  application  of  some  polish  to  such  woods  as  have 
just  been  given,  is  necessary  to  render  them  pleasing  to 
the  eye. 

To  make  Siveet  Oil  Turps  without  smell. — Half  a  gal- 
lon of  gray  stone  lime,  slack  it  properly,  in  five  and  a 
half  gallons  of  water  to  destroy  its  property,  then  put 
it  into  a  can,  shaking  it  three  or  four  times  a  day,  leav- 
ing the  cork  out.  Let  it  properly  settle,  then  pour  off 
the  water  from  the  lime,  which  will  be  oily,  then  add 
raw  linseed  oil  five  and  a  half  pints,  shaking  it  three  or 
four  times  ;  after  this  add  quarter  of  a  pint  of  clarified 
vitriol  to  each  gallon  :  it  is  then  fit  for  use. 

To  Varnish  Prints. — Dissolve  one  ounce  of  the  best 
isinglass  in  a  pint  of  water  by  boiling  it  over  the  fire  ; 
strain  it  through  fine  muslin,  and  keep  it  for  use.  Try 
this  size  on  a  piece  of  paper,  moderately  warm  ;  if  it 
glistens,  it  is  too  thick  :  add  more  water.  If  it  soaks 
into  the  paper,  it  is  too  thin.  Add  or  diminish  the  isin- 
glass till  it  merely  dulls  the  surface.  Give  the  print 
two  or  three  coats,  letting  it  dry  between  each  ;  bear 
lightly  on  your  brush,  which  should  be  a  flat  tin  camel's 
hair,  then  with  best  mastic  varnish,  give  it  two  or  three 
coats. 

To  polish  on  Paint. — Two  and  a  half  ounces  of  spirit 
of  wine,  one  drachm  of  oil  of  almonds,  one  drachm  of 
gum  elemi,  half  an  ounce  of  orange  shellac,  pounded 
fine,  and  put  altogether  into  a  bottle  to  dissolve  ;  when 
dissolved,  rub  it  on  with  soft  woollen  or  cotton  wadding. 


108  ARTIST    AND    TRADESMAN'S     COMPANION. 


OBSERVATIONS  ON  HOUSE-PAINTING,  WITH 
INSTRUCTIONS  FOR  PREPARING  THE  VA- 
RIOUS  COLORS,  &c. 

It  is  quite  necessary,  to  make  the  work  satisfactory, 
for  the  operator  to  have  vessels  that  are  clean,  as  also 
the  brushes,  cans,  &c.,  that  he  may  need  in  the  course 
of  his  work  ;  such  as  his  various  paint-pots  or  vessels 
to  mix  his  color  in,  or  use  it  from.  They  are  occasionally 
bought  at  the  shops,  nicely  made  of  stout  tin,  and  such 
are  easily  kept  clean,  and  save  their  expense  in  color, 
which  is  easily  brushed  down  their  smooth  sides  :  mar- 
ble slab  and  muller,  to  grind  the  finer  colors  used  in 
painting  with. 

A  small  cast-iron  mill  is  useful  sometimes,  not  only 
to  grind  colors,  but  to  pass  the  tinted  color  through,  so 
that  it  may  be  more  thoroughly  mixed.  It  is  scarcely 
necessary  to  say  that  it  is  presumed  the  workman  will 
know  what  brushes  he  will  require,  according  to  the 
work  he  has  in  hand.  His  large  ground  paint-brush, 
called  a  "  pound-brush  ;"  his  half-size,  for  smaller  work, 
as  blinds,  shutters,  (fee. ;  fitch  and  sash  tools,  duster, 
pallet,  putty,  and  hack-knives  ;  oval  and  flat  varnish 
brushes,  varnish-pot ;  step-ladders  and  long  ladders, 
mahl-stick,  pallet-board,  gilding-knife,  camel  and  sable 
hair-pencils,  whitewash  brush,  sometimes  his  Jack,  for 
window  work,  cushion  and  tip-pole,  &c. 


ARTIST    AND    TRADESMAN'S    COMPANION.  109 

As  a  general  thing,  it  is  best  to  buy  putty  at  a  regular 
color  store,  where  you  may  depend  upon  its  being  made 
of  good  dry  whiting  and  linseed  oil,  and  should  be  freely 
and  carefully  used  after  the  work  has  had  one  coat  of 
paint,  for  the  fresh  paint  holds  the  putty  very  firmly. 
White  lead  is  to  be  judged  of  by  being  well  ground  and 
possessing  the  mellowness  given  to  it  by  age. 

It  is  thought  that  the  best  article  is  the  most  econo- 
mical, as  it  works  out  with  more  ease,  and  repays  the 
difference  of  cost  in  its  appearance.  Linseed  oil  is  also 
better  for  having  due  age,  for  the  same  reasons  as  the 
white  lead,  working  with  softness  and  advantage  after 
parting  with  the  water,  which  is  generally  combined  with 
new  oil. 

YELLOW. 

Yellow  Ochre. — When  good,  a  very  durable  color  ;  it 
has  a  good  pleasing  tint  with  white.  The  French  is  the 
best  and  most  economical,  taking  up  less  oil,  and  pre- 
serving its  color  in  oil  much  better  than  the  American. 

Chrome  Yellow. — A  bright,  durable  color,  of  different 
shades,  and  exceedingly  useful,  of  great  strength,  and 
has  superseded  the  use  of  patent  and  king's  yellow, 
from  its  facility  of  working  and  cheapness.  Dutch  Pink 
is  mostly  used  in  distemper  for  wall-work,  and  has  little 
or  no  body  in  oil.  Stone  Yellow  is  not  much  used  by 
house-painters  ;  a  cleaner  tint  than  yellow  ochre,  and 
sometimes  useful  in  greens. 


110  ARTIST    AKD    TRADESMAN'S    COMPANION. 

BLUES. 

Chinese  Blue  is  a  soft  Prussian  blue  ;  it  makes  a  rich 
tint,  is  very  strong,  and  easily  ground  in  water  or  oil. 
Ultramarine  is  now  so  cheaply  imitated  as  to  bring  it 
into  general  use  for  any  fancy  work,  ornamenting  walls, 
&c.  ;  a  brilliant  and  enduring  color,  with  very  little 
body,  it  makes  a  rich  appearance  when  strewed  on  like 
smalts.  Prussian  Blue,  from  its  strength  and  compara- 
tive cheapness,  is  used  most  in  tinting  green  and  white. 
Indigo  is  little  used  in  oil,  but  good  in  distemper  or 
water  colors.  Antwerp  Blue  is  similar  to  Prussian  blue, 
and  not  so  green  in  tint.  Refiner's  and  Verditer  Blues 
are  copper  colors,  useful  in  water  colors.  Blue  Smalts 
are  used  in  sign-work,  to  strew  over  the  fresh  paint  after 
the  gilt  letters  are  cut  in,  or  pointed  around. 

BLACKS. 

Lamp-Black,  either  calcined,  or  in  a  crude  state,  is 
the  most  usual  black  for  house-painting,  and  the  differ- 
ence in  their  use  well  repays  the  additional  cost  of  the 
calcined,  and  is  best  purchased  ready  ground  in  boiled 
linseed  oil,  to  assist  its  drying. 

Blue  Black  is  a  variety  useful  in  tinting  the  white. 

Ivory  and  Drop  Blacks  are  much  used  in  finer  works, 
to  produce  more  intense  blacks,  as  carriages,  wagons,  &c. 


ARTIST   AND    TRADESMAN'S    COMPANION.  IH 

WHITES. 

China  Wliite. — A  fine  variety  of  flake  white,  and  better 
than  the  generality  of  Cremnitz  white  ;  is  used  very 
generally,  ground  in  white  hard  copal,  and  painted  on  in 
several  coats,  to  prepare  a  ground  for  polishing ;  or, 
ground  in  Damar  varnish,  is  brushed  evenly  and  smoothly 
over  the  work,  which  requires  to  be  finished  beforehand 
in  spirit  color,  and  then  painted  twice  with  the  varnish 
color,  and  brushed  quickly  in  the  last  coating,  to  leave 
it  glossy. 

Paris  White  is  much  used  in  finishing  fine  ceilings, 
after  they  are  well  cleaned,  and  prepared  with  a  thin 
coat  of  lime. 

Kalsomine,  a  white  silky  powder,  is  used  with  gela- 
tine to  finish  ceilings  and  side  walls.  After  it  has  been 
used  some  time,  the  gelatine  perishes,  and,  if  the  work 
be  varnished,  flakes  off".  Lime-washes  must  not  be  put 
on  over  size  preparations,  as  they  cause  the  work  to 
flake  off". 

REDS. 

Carmine  is  the  most  superb  red  in  common  use,  and 
is  serviceable  in  tinting  wall- work,  if  the  ground  be  duly 
prepared,  first,  with  Indian  red  and  white  ;  secondly,  with 
M'hite  and  a  good  lake  ;  and  lastly,  with  white  and  car- 
mine, prepared  with  dry  China  white,  a  little  soft  white 
varnish  and  spirits  of  turpentine,  so  as  to  work  evenly. 
Good  lake  makes  the  next  best  reddish  tint,  used  as  the 


112  ARTIST    AND    TRADESMAN'S    COMPANION. 

carmine,  only  substituting  lake  in  place  of  the  carmine 
in  the  last  tint. 

Indian  Bed. — A  permanent  and  very  useful  color  as 
a  ground  for  the  above  colors,  in  wall-work,  and  also  for 
vermilion  in  carriage  or  other  work. 

Chinese  Vermilion. — Also  used  as  a  finishing  tint  for 
rooms,  where  lakes  and  carmines  are  too  expensive,  and 
in  a  variety  of  ornamental  work. 

French  Vermilion^  a  richer  and  more  scarlet  tint,  is 
much  used  in  ornamental  work. 

English  Pale  Vermilion  is  used  as  above  in  carriage 
work,  and  fine  ornaments  :  beautiful  in  tint  and  an  ex- 
cellent body^, 

Trieste. — A  good  article,  not  quite  so  rich  as  the  last 
mentioned,  but  useful  from  its  body  and  cheaper  price. 

Persian  Red  and  American  Vermilion  are  good  cheap 
priming  colors. 

Orange  Mineral  is  a  rich  preparation  like  red  lead, 
used  in  the  ground  with  white  lead,  and  also  to  mix 
with  Venetian  red,  to  improve  its  color  and  cause  it  to 
dry. 

Red  Lead,  a  similar  color,  used  on  iron  work,  and 
with  Venetian  red,  as  above,  and  as  a  dryer  in  boiling 
oil :  a  very  useful  red  paint. 

Rose  Pink  is  a  rich  color,  which  answers  well  under 
copal  varnish  or  inside  work.  Venetian  Red  is  a  good 
iron  color,  used  on  houses  outside  and  on  brick  work, 


ARTIST  AND    TRADESMAN'S    COMPANION.  113 

and  sometimes  on  roofs  of  houses,  as  it  is  a  lasting  rich 
red.  Spanish  Brown  is  a  common  dark  red  color,  for 
ordinary  rough  outside  work.  These  two  last  are  much 
better  to  be  obtained  of  the  pure  iron  color,  as  the  com- 
mon or  clayey  varieties  absorb  so  much  oil,  and  do  not 
endure  like  the  best. 

GREENS. 

Chrome  Green. — A  strong  color  will  bear  four  pounds 
of  white  lead  to  one  pound,  and  make  a  good  color. 
The  tone  can  be  varied  by  adding  chrome  yellow  or 
Prussian  blue. 

Paris  Green,  called  also  sweinfurt  and  emerald  green. 
A  beautiful  color,  covers  indifferently,  is  best  prepared 
ground  fine  in  boiled  oil.  The  work  must  be  carefully 
primed  with  a  similar  tint,  then  painted  twice  with  this 
green,  and  if  it  does  not  gloss  well,  a  thin  coat  must  be 
floated  over,  mixed  with  copal  varnish. 

Verdigris  is  little  used  now,  except  with  boiled  oil  on 
vessels,  or  with  resin  varnish  on  inside  blinds  or  com- 
mon bedsteads.  It  is  mixed  one  pound  to  three  of  white 
lead  in  the  oil,  and  one  to  four  in  the  varnish,  and  can 
be  had  ground  in  oil  at  the  shops. 

There  are  various  low-priced  greens,  sold  both  dry 
and  ground  in  oil,  at  the  shops,  such  as  Brunswick,  Im- 
perial, Saxon,  Prussian,  &;c.,  &;c.,  used  in  place  of  chrome 
green  on  cheap  work. 


114  ARTIST    AND    TRADESMAN'S    COMPANION. 

BROWNS. 

Umber  is  the  most  useful  and  cheapest  brown  color, 
both  raw  and  burnt.  The  latter  is  a  very  rich  and  deep 
tint,  and  makes  pleasant  drab  colors  with  white.  Um- 
ber is  a  most  excellent  dryer,  and  is  put  into  oil  with 
litharge  and  red  lead  when  about  to  be  boiled. 

Vandyke  Brown  is  useful  in  tints  and  in  veining  imi- 
tations of  wood  and  marble. 

Purple  Brown. — A  strong  color,  and  makes  a  rich 
stone  color,  with  yellow  ochre  and  white. 

Raw  Sienna. — A  fine  yellow  brown,  useful  in  imi- 
tations, either  in  water  or  oil. 

Burnt  Sienna. — A  fine  red  brown,  useful  in  tinting, 
■  and  also  in  imitating  mahogany. 

Welsh  Umber. — A  soft  color,  used  in  water. 

The  colors  above  named  are  best  bought  ground  in 
oil  or  water,  or  levigated  ;  for  being  earthy  colors,  they 
have  naturally  more  or  less  sand  with  them. 

In  grinding  any  of  them  upon  the  slab,  have  them 
well  pulverized,  and  stir  the  oil  into  it,  till  it  is  just  wet. 
Then  with  the  pallet-knife  put  on  the  centre  of  the  slab 
about  two  spoonsful  at  once,  and  placing  the  muller 
upon  it,  turn  it  around  two  or  three  times,  and  if  you 
think  it  too  dry,  drop  a  few  drops  of  oil  on  it ;  then 
proceed  to  rub  it  around  the  stone,  bearing  hard  on  the 
muller,  so  as  to  crush  it  finely,  until  you  find  it  quite 
smooth,  when  it  is  to  be  scraped  up  with  the  pallet-knife 


ARTIST    AND    TRADESMAN'S    COMPANION.  115 

towards  the  centre,  and  lifted  with  the  same  knife  into 
the  vessel  for  use.  If  there  be  more  than  is  needed,  it 
can  be  kept  in  bladder. 

In  preparing  to  paint  a  good  dwelling,  after  having 
obtained  the  necessary  colors  and  brushes,  see  that  you 
have  a  few  pounds  of  good  pumice-stone,  a  quire  or  two 
of  assorted  sand-paper,  to  smooth  the  inequalities  in  the 
work  ;  some  twenty  pounds  of  putty,  to  stop  up  after 
the  first  coat,  in  every  part  of  the  house  ;  a  sufficiency 
of  fine  slacked  lime,  and  a  proper  number  of  large  and 
small  vessels,  to  mix  the  colors  in  and  use  it  from  ;  a 
few  pounds  of  soaked  glue,  &;c. 

If  the  wood  work  be  new,  and  no  wall  work  required, 
you  will  go  over  it  carefully  with  a  small  brush,  and 
some  of  the  glue-size,  colored  with  red  lead,  covering 
what  knots  and  stains  may  appear  in  the  wood,  after 
which  the  priming  coat,  of  almost  all  oil,  and  good  white 
lead,  tinted  with  Indian  red,  should  be  evenly  brushed 
over  the  work  ;  and,  as  soon  as  dry,  the  putty-knife  and 
putty  should  follow,  to  stop  all  the  cracks  and  nail  holes. 
Then  should  follow  the  second  coat,  with  a  little  spirits 
of  turpentine  in  the  oil,  and  the  color  slightly  tinged 
with  blue  black.  This  is  generally  thought  suflScient 
for  the  attic  and  third  stories.  But  the  rest  of  the  house 
is  usually  finished  with  old  ground  white  lead,  thinned 
with  spirits  of  turpentine.  The  roof,  if  covered  with 
tin,  should  be  painted  once  in  three  years.  There  are 
many  different  methods  in  use.  Some  paint  with  raw 
oil,  dry  Spanish  brown,  and  a  little  red  lead,  to  dry  it, 
for  fear  of  a  rain  :  others,  with   Spanish  brown,  more 


116  ARTIST    AND    TRADESMAN'S    COMPANION. 

red  lead,  and  half  whale  oil  with  the  linseed  oil ;  others 
use  yellow  ochre  and  Black,  mixed  in  the  same  oils ; 
others  use  a  roof  paint,  made  by  boiling  paint  skins  in 
whale  oil,  and  carefully  straining  them  while  warm, 
reserving  the  remaining  skins,  to  stop  the  leaks  around 
chimneys  and  dormer  windows.  This  last  mentioned 
paint  is  probably  serviceable  from  its  elasticity.  In 
the  country,  many  paint  their  roofs  and  outbuildings  in 
the  same  way,  using  sometimes  Venetian  red  from  its 
brightness. 

If  the  work  is  required  to  be  painted  in  oil,  it  must 
be  carefully  cleaned  from  dirt  and  grease,  the  lumps  and 
roughness  smoothed  down  with  pumice  and  sand-paper, 
and  an  even  coat  of  white,  tinted  with  Indian  red  and 
mixed  half  oil  and  half  spirits,  carefully  put  on,  and 
when  dry,  all  the  cracks  and  crevices,  fairly  puttied  up. 

The  ceilings  and  side  walls  should  be  first  brushed 
off,  and  one  thin  coat  of  lime  passed  over  the  ceiling. 
If  the  side  walls  are  to  be  painted,  a  thin  sizing  of  glue 
water  should  be  evenly  passed  over  it,  and  the  priming 
coat,  half  oil  and  half  spirits,  brushed  smoothly  over  it. 
The  ceiling  should  be  finished  with  a  coat  of  Paris 
white,  mixed  with  clear  water,  in  which  a  little  alum  la 
dissolved.  In  the  attics  it  is  usual  to  finish  the  side 
walls  with  two  coats,  the  last  coat  mixed  with  one-third 
boiled  oil  and  the  rest  spirits  of  turpentine,  tinting  them 
more  deeply  than  the  walls  of  the  other  stories.  The 
same  process  is  to  be  observed  in  the  other  stories,  ex- 
cept that  if  the  third  or  finishing  coat  is  to  dry  glossy, 
the  second  coat  should  have  less  oil,  that  it  may  dry 


ARTIST    AND    TRADESMAN'S    COMPANION.  117 

without  gloss ;  and  the  last  coat,  boiled  oil  and  spirits 
of  turpentine,  as  directed  above.  If  the  last  coat  should 
be  dead,  without  gloss,  then  the  second  coat  should  dry 
with  a  gloss,  being  mixed  half  oil  and  half  spirits,  and 
finished  with  all  spirits,  mixed  with  old  white  lead,  so 
that  it  may  work  smoothly.  The  ground  and  second 
coat  tints  should  correspond  in  tone  with  the  last  color 
required,  and  care  taken  not  to  make  them  too  dark. 

TINTING. 

Lead  Color  is  to  be  made  with  blue  black  and  lamp- 
black, heightened  with  indigo  or  Prussian  blue. 

Lilac  made  with  the  same  tints,  and  purple  lake  or 
Indian  red. 

Flesh  Color  is  made  with  lakes,  carmine,  and  a  little 
blue,  with  some  yellow. 

Buff  Color  is  made  with  a  little  chrome  yellow,  yel- 
low ochre,  and  white. 

Carnations,  of  carmine  or  scarlet  lake,  and  the  best 
and  clearest  dry  white.  Perhaps  the  Damar  varnish, 
used  so  as  to  dry  without  gloss,  would  be  the  best  ve- 
hicle for  such  delicate  colors,  in  which  carmines  and 
lakes  are  used. 

Orange. — Vermilion  and  chrome  yellow,  and  cheaper 
orange  mineral  and  Indian  red. 

Bronze  Green. — Chrome  green,  subdued  with  burnt 
umber. 


118  ARTIST    AND    TRADESMAN'S    COMPANION. 

Olive. — Umber  and  fine  yellow  ochre,  or  stone  ochre. 
Where  the  ochre  predominates  mixed  with  white,  a  fine 
Portland  stone  color  is  obtained. 

Freestone  Color. — Made  with  purple,  brown,  yellow 
ochre,  and  a  little  blue  black  and  white. 

Chocolate  Color. — Spanish  brown,  or  Venetian  red  and 
black. 

Claret. — Indian  red  and  blue  black,  glazed  over  with 
a  deep  crimson  lake. 

Drabs  of  a  great  variety  may  be  made  with  raw  and 
burnt  siennas,  Vandyke  brown,  Indian  red,  and  raw  and 
burnt  umbers. 

GILDING    IN    OIL. 

This  is  best  done  on  solid  and  smooth  painted  ground, 
of  a  gray  tint,  so  hard  as  to  be  rubbed  down  smooth. 
The  oil-size  is  made  of  Oxford  ochre  and  chrome  yel- 
low, finely  ground  in  fat  oil,  and  tempered  with  boiled 
oil,  so  as  to  dry  in  twenty -four  hours,  and  hold  its  tach 
for  double  that  time.  It  should  be  used  with  a  sable  or 
camel's  hair  pencil  or  brush,  to  leave  its  surface  smooth 
and  glossy.  In  sizing  letters  on  a  sign-board,  the  shape 
of  the  letter  is  to  be  made  fuller  than  it  is  to  be  finished, 
so  that  there  may  be  room  to  work  around  the  gilt  let- 
ters with  the  ground-work,  to  leave  the  edge  smooth. 

When  the  size  is  dry,  so  as  to  feel  tachy,  and  leave 
no  impression  of  the  finger,  it  is  ready  for  the  gold-leaf, 
which  is  put  thereon  in  various  ways.     Some,  folding 


ARTIST    AND    TRADESMAN'S    COMPANION.  119 

back  the  paper  leaf,  run  the  fore-finger  nail  along  its 
edge,  and,  turning  it  suddenly  over  against  the  sized  sur- 
face, so  much  of  the  gold  remains,  and  is  pressed  down 
evenly  with  a  piece  of  cotton,  or  large  camel's  hair- 
brush ;  others,  with  a  sharp  knife  cut  entirely  through 
the  book,  dividing  it  into  the  required  strips,  and  put  it 
on  in  a  similar  way  to  the  last.  The  neatest  and  best 
plan  is  to  use  the  Gilder's  Cushion,  where  the  full  leaf 
of  gold  is  thrown  on,  and  laid  flat  with  the  knife  and 
breath,  and,  being  cut  into  requisite  size,  lifted  up  with 
the  lip,  and  put  upon  the  work,  then  pressed  down  with 
a  camel's  hair  or  fitch  hair-brush.  This  has  many  ad- 
vantages, avoiding  any  injury  to  the  work,  by  impro- 
perly pressing  it,  and  being  enabled  to  cut  the  gold 
without  waste — points  certainly  very  desirable  to  be 
obtained. 

OF    COMPOUND    COLORS. 

These  are  formed  by  mixing  two  only,  and  will  be 
the  best  and  the  richest. 

Size. — The  best  size  for  distemper  colors  is  made  from 
the  clippings  of  the  skin  of  animals,  which  must  be  sub- 
mitted to  strong  boiling.  Take  the  quantity  necessary, 
put  it  into  an  iron  kettle,  and  fill  it  with  water ;  let  it 
stand  twenty-four  hours,  till  the  pieces  are  thoroughly 
soaked.  Let  the  size  boil  five  hours,  occasionally  taking 
off  the  scum. 

When  it  is  sufficiently  boiled,  take  it  from  the  fire, 
and  strain  it  through  a  coarse  cloth.     If  the  size  is  to 


120  AKTIST    AND    TRADESMAN'S     COMPANION'. 

be  kept  for  a  length  of  time,  dissolve  two  or   three 
pounds  of  alum  in  boiling  water,  and  add  to  every  pail 
ful.     The  size  must  then  be  boiled  again  till  it  becomes 
very  strong  :  it  must  be  strained  a  second  time,  put 
into  a  cool  place,  and  it  will  keep  good  several  months. 

Brilliant  Peach  Blossom. — Orange  lead  (orpiment) 
and  whiting,  when  properly  mixed,  composes  a  beautiful 
and  unfading  color ;  it  is  much  used  by  paper-stainers. 
Dissolve  whiting  in  water  ;  then  grind  very  fine  in  water 
a  small  quantity  of  orange  lead,  and  mix  with  the 
whiting ;  add  sufficient  size  to  the  mixture,  and  strain 
it  through  a  sieve,  and  put  into  a  cool  place  till  fit  for 
use. 

This  color  must  be  worked  in  a  jelly,  as  the  orange 
lead  is  heavy,  and  would  otherwise  separate  from  the 
other  parts  and  sink  to  the  bottom  in  a  pure  state. 

Salmon  Color. — An  excellent  salmon  color  can  be 
made  by  dissolving  whiting  in  water,  and  tinging  it  with 
the  best  English  Venetian  red,  finely  ground  in  water. 
A  little  Venetian  red  mixed  with  lime  whitewash,  and  a 
proportionate  quantity  of  alum,  will  answer  very  well 
for  common  purposes.  It  is  important,  when  English 
red  is  required,  that  you  obtain  it  genuine,  as  a  spuriou 
article  is  frequently  sold  for  it,  which,  when  used,  spoil 
the  intended  effect  when  applied  to  fine  with. 

Pink. — Dissolve  in  water,  separately,  whiting  and 
rose  pink,  mix  them  to  the  texture  required  :  strain  the 
color  through  a  sieve,  and  bmd  with  size. 


ARTIST    AND    TRADESMAN'S    COMPANION.  121 

Lilac. — Take  a  small  quantity  of  indigo  finely  ground 
in  water,  and  mix  it  with  whiting  till  it  produces  a  dark 
gray  ;  then  add  to  the  mixture  some  rose  pink.  Well 
mix  and  strain  the  color,  and  a  beautiful  lilac  will  be  the 
result. 

Light  Gray. — A  small  quantity  of  lamp-black  mixed 
with  whiting,  composes  a  gray  ;  more  or  less  black,  of 
course,  regulates  the  shade.  With  whiting,  therefore, 
mixed  with  black  in  varying  proportions,  a  wide  range 
of  shades  may  be  obtained,  from  the  darkest  to  the 
lightest  gray. 

French  Gray. — Whiting  predominates  in  this  color : 
it  is  treated  as  the  other  grays,  but  with  this  difference, 
that  it  admits  of  lake  instead  of  black.  Take  the  quan- 
tity, therefore,  of  whiting  necessary,  and  soak  it  in  water, 
then  add  the  Prussian  blue  and  lake,  which  has  been 
finely  ground  in  water.  The  quantity  of  each  of  those 
colors  should,  of  course,  be  proportioned  to  the  warmth 
of  color  required.  This  is  a  handsome  and  delicate 
color  for  walls.  Either  of  the  preceding  grays  will 
answer  for  the  first  coat,  as  the  French  gray  will  cover 
upon  it  very  well.  Rose  pink  may  be  substituted,  but 
it  does  not  make  so  brilliant  a  color,  neither  is  it  so 
durable. 

Orange  Color. — For  walls  and  stables.  Use  two 
pounds  of  green  copperas,  dissolved  in  hot  water,  just 
sufficient  to  dissolve  it.  Mix  it  well  with  eight  gallons 
of  fresh  lime-wash.     Stir  it  well  while  using. 

G 


122  ARTIST    AND    TRADESMAN'S    COMPANION. 

Another. — This  is  a  mixture  of  whiting,  French  yel- 
low, or  Dutch  pink  and  orange  lead.  Those  ingredients 
may  be  proportioned  according  to  taste.  This  color 
cannot  be  worked  except  in  a  size-jelly,  as  the  orange 
lead  is  a  color  which  has  great  body. 

Bvff. — A  good  buff  may  be  produced  by  dissolving 
separately  whiting  and  French  yellow  in  water.  A  little 
English  Venetian  red  must  be  added  to  give  the  yellow 
a  warm  cast.  Mix  with  size,  and  strain  as  before 
directed. 

An  excellent  Green  for  Walls. — Take  two  pounds  of 
mineral  green,  and  six  pounds  of  good  green  verditer ; 
mix  them  together,  and  grind  in  water :  mix  with  size, 
and  work  the  color  when  it  has  formed  a  jelly.  This 
green  has  a  good  body,  and  is  very  durable. 

Another. — Mix  a  solution  of  common  salt  and  blue 
vitriol  in  water ;  by  putting  copper-plates  therein,  a 
green  precipitate  will  be  gradually  formed,  which  may 
be  mixed  with  whiting,  and  then  spread  on  a  board  to 
dry. 

Another  ;  good  and  cheap. — Take  eight  pounds  of  Eo- 
man  vitriol  and  two  pounds  of  whiting,  boil  them  in  a 
brass  or  copper  kettle  in  three  gallons  of  water  one 
hour,  stirring  the  mixture  the  whole  time  till  thoroughly 
dissolved.  Pour  it  into  an  earthen  pan,  and  let  it  stand 
several  days.  Decant  the  water,  and  mix  the  sediment 
with  size  ;  apply  it  to  the  walls  with  a  whitewash-brush. 
The  shade  may  be  altered  or  improved  by  adding  a  little 


ARTIST    AND    TRADESMAN'S    COMPANION.  123 

Dutch  pink  or  chrome  yellow.     When  required  for  use, 
it  must  be  dissolved  in  water,  mixed  with  size,  &;c. 

This  color  must  not  come  in  contact  with  iron,  as  the 
Roman  vitriol  powerfully  attacks  it,  and  thereby  spoils 
the  color. 

Blue  in  Distemper. — A  good  blue  is  made  by  dis- 
solving whiting  in  water,  and  mixing  some  indigo 
with  it. 

Blue  Verditer. — The  best  blue  in  use  for  distemper 
colors  on  walls.  Dissolve  some  pieces  of  copper  in 
aqua-fortis,  and  when  dissolved,  produce  a  precipitation 
of  it  by  adding  quick-lime,  in  such  doses  that  it  will  be 
entirely  absorbed  by  the  acid.  In  order  that  the  preci- 
pitate may  be  pure  copper  without  any  mixture,  when 
the  liquor  has  been  decanted,  wash  the  precipitate,  and 
spread  it  out  on  a  piece  of  linen  cloth  to  drain.  If  a 
portion  of  this  precipitate,  which  is  green,  be  placed  on 
a  grinding-stone,  and  a  little  quick  lime  in  powder  be 
added,  the  green  color  will  be  changed  into  a  beautiful 
blue.  The  proportion  of  lime  added  is  from  seven  to 
ten  parts  in  a  hundred.  As  the  whole  matter  has  al- 
ready acquired  the  consistency  of  paste,  dissication  soon 
takes  place. 

Straw  Color  in  Size. — Dissolve  the  necessary  quantity 
of  whiting  in  water,  then  grind  in  water  some  chrome 
yellow  or  Dutch  pink.  Mix  to  the  shade  required,  and 
add  some  strong  size.  Strain  the  color  through  a  hair- 
sieve,  and  set  it  in  a  cool  place  till  fit  for  use. 


134  ARTIST    AND    TRADESMAN'S    COMPANION. 

Drab,  in  Size. — An  excellent  drab.  Dissolve  in  water, 
whiting,  and  grind  some  burnt  umber  very  fine  in  water. 
Mix  it  to  the  shade  required.  Strain  the  color  as  usual, 
and  mix  with  size.  Raw  umber  will  make  a  drab  of  a 
different  shade. 

Another. —  Dissolve  separately  some  whiting  and 
French  yellow  in  water.  Take  a  proportionate  quantity 
of  each,  and  mix  them  together  till  a  bright  yellow  is 
produced.  Grind  a  little  lamp-black  very  fine  in  vine- 
gar, and  with  it  sufficiently  stain  the  color  to  form  a 
drab  ;  another  shade  may  be  obtained  by  adding  a  little 
Venetian  red.  Thus,  by  diversifying  the  proportions  of 
the  above  mentioned  pigments,  a  great  variety  of  shades 
may  be  produced. 

Milk  Paint  for  out-door  work. — The  quantity  for  one 
hundred  square  feet :  One  quart  of  skimmed  milk,  three 
ounces  of  lime,  two  ounces  of  linseed  or  poppy  oil,  one 
pound  and  a  half  of  Spanish  white  or  whiting.  Put  the 
lime  into  a  clean  bucket,  add  sufficient  of  the  milk  to 
slake  the  lime,  add  the  oil  a  few  drops  at  a  time,  stirring 
the  mixture  with  a  flat  stick  till  the  whole  of  the  oil  is 
incorporated  in  the  mass  ;  then  add  the  remainder  of 
the  milk,  and  afterwards  the  Spanish  white  or  whiting, 
finely  powdered,  and  sifted  gently  over  the  mixture  by 
degrees.  Curded  milk  will  do  for  the  purpose,  but  it 
must  not  be  sour.  One  coat  of  this  will  do  for  ceilinors 
and  staircases  in  general ;  two  coats  or  more  for  new 
wood.  Where  color  is  required^  you  may  use  powdered 
umber,  ochres,  chromes,  greens,  blues,  pinks,  &c.,  &c., 


ARTIST    AND    TRADESMAN'S    COMPANION.  125 

ground  in  milk.     For  particular  work  strain  the  color 
through  a  hair-sieve. 

For  out-door  work. — Eight  ounces  of  lime  newly 
slacked,  by  dipping  it  in  water,  and  allowing  it  to  break 
down  in  the  open  air.  Now  take  two  ounces  of  bur- 
gundy pitch,  and  dissolve  by  a  gentle  heat  in  six  ounces 
of  poppy  or  linseed  oil ;  then  add  to  the  hot  lime  two 
quarts  of  skimmed  milk  while  in  a  hot  state.  Add  the 
mixture  of  pitch  and  oil  a  little  at  a  time,  stirring  all 
the  while.  Lastly,  add  three  pounds  of  powdered 
whiting. 

To  Whiten  Ceilings  or  Walls. — Take  the  best  whiting 
and  break  down  in  water,  then  boil  some  parchment- 
cuttings  three  hours,  and  strain  off  the  liquor  after  the 
whole  is  mixed  together.  London  size  will  be  a  good 
substitute  for  the  above  ;  if  the  double  size,  use  nearly 
half  water ;  if  the  single,  use  none.  You  must  test  the 
size,  as  some  is  much  stronger  than  others.  You  may 
add  a  small  piece  of  blue-black  to  the  whiting,  and  be- 
fore using  this  wash  you  may  stir  in  a  little  turpentine. 

Distemper  Colors  for  Walls. — If  distemper  is  to  be 
applied  to  a  wall  or  ceiling  which  is  covered  with  plas- 
ter, some  whiting  is  put  into  water,  where  it  may  be 
easily  broken  and  diluted  if  allowed  time  to  soak ;  it 
must  be  completely  saturated,  and  when  it  has  settled, 
the  clear  water  must  be  poured  off.  To  correct  the  too 
great  whiteness,  and  to  prevent  a  yellow  cast,  grind 
separately  in  some  water  a  little  indigo  or  ivory-black, 
and  mix  with  it ;  then  add  to  the  mixture  some  strong 


126  ARTIST    AND    TRADESMAN'S    COMPANION. 

size  which  has  been  previously  warmed,  well  stirring 
the  whole  till  properly  mixed.  The  whole  of  the  dis- 
temper must  be  strained  while  warm,  in  order  to  re- 
move all  impurities  and  thoroughly  mix  the  color. 
When  this  is  done,  the  distemper  may  be  put  into  a 
cool  place  till  it  is  formed  into  a  weak,  trembling  jelly, 
which  is  the  only  proper  state  in  which  to  apply  it  to 
the  walls.  All  size  distemper  colors  which  are  applied 
to  walls,  and  which  are  mixed  with  whiting,  should  at 
all  times  be  worked  cold,  and  of  a  weak,  trembling  jelly, 
otherwise  it  will  be  impossible  to  make  good  work,  and 
great  care  should  be  taken  not  to  have  too  much  body 
in  the  color,  for  it  will  certainly  crack  and  fall  off  in 
scales,  as  it  is  not  the  strength  of  the  size  that  causes 
the  work  to  crack,  but  the  body  of  color.  There  is  a 
great  advantage  in  having  a  sufficient  quantity  of  size 
in  the  first  coat  of  distemper,  as  it  binds  hard,  and  stops 
the  suction  of  the  wall,  in  consequence  of  which  the 
next  coat,  if  properly  prepared,  will  not  move  the  first 
strata,  but  it  will  work  perfectly  free,  and  when  dry,  the 
work  will  have  a  uniform  and  solid  appearance.  If 
these  instructions  are  fully  attended  to,  the  amateur 
cannot  fail  in  his  endeavors  to  execute  his  work  in  the 
best  manner.  This  method  of  whitewashing  and  color- 
ing walls  is  far  superior  to  lime,  as  it  works  much 
smoother,  and  when  properly  mixed  and  worked  upon 
a  new  wall,  it  will  not  crack  and  fall  off  in  scales  ;  it 
also  covers  better,  and  after  being  repeatedly  applied 
for  a  number  of  years,  the  walls  need  no  scraping,  as 


ARTIST   AND    TRADESMAN'S    COMPANION,  127 

the  color  easil}  washes  off  with  a  whitewashing  brush, 
after  they  have  been  well  soaked  with  water. 

Lime  Whitewash. — Lime  whitewash  is  made  from 
lime  well  slacked.  Dissolve  two  pounds  and  a  half  of 
alum  in  boiling  water,  and  add  it  to  every  pailful  of 
whitewash.  Lime  whitewash  should  be  used  very  thin, 
and  when  it  is  sufficiently  bound  on  the  wall  by  means 
of  alum,  two  thin  coats  will  cover  the  work  better  ;  this 
may  be  used  for  the  first  coat,  thinned  with  water.  Most 
whitewashers  apply  their  wash  too  thick,  and  do  not 
mix  a  proportionate  quantity  of  alum  to  bind  it,  con- 
sequently the  operation  of  the  brush  rubs  off  the  first 
coat  in  various  parts  and  leaves  an  uneven  surface,  and 
the  original  smooth  surface  of  the  wall  is  entirely  de- 
stroyed. 

To  make  Paste  for  Paper-hanging. — Mix  four  pounds 
of  flour  well  with  cold  water,  as  thick  as  you  can,  then 
boil  two  gallons  of  water  and  add  a  little  alum,  then 
take  a  little  of  the  hot  water  and  mix  with  that  you 
have  stirred  with  the  cold  water,  stirring  the  while  till 
you  have  added  the  whole,  then  strain  for  use.  Thin  it 
with  cold  water.     Size  your  walls  with  thin  glue-size. 

Color  to  imitate  Cherry-Tree. — Grind  raw  and  burnt 
terradasienna  with  whiting,  then  to  one  gallon  of  water 
add  half  a  pound  of  glue ;  let  the  water  be  warm  to 
dissolve  the  glue.  When  the  color  is  applied,  it  will  do 
with  or  without  varnish. 


128  ARTIST  AND    TRADESMAN'S    COMPANION. 

Transparent  Colors  for  Painting. — The  best  are  made 
from  vegetable  or  animal  substances  ;  minerals  do  not 
work  so  well  with  water,  and  are  apt  to  fade. 

Directions  for  inside  Painting. — The  first  thing  is  to 
have  the  room  free  from  dust ;  the  next  essential  thing 
is  to  kill  the  knots  of  the  wood.  When  the  work  is 
knotted,  proceed  to  prime  it,  which  must  be  made  to 
dry  exceedingly  hard,  in  order  to  stop  the  unction  of  the 
wood,  otherwise  the  second  coat  will,  by  the  operation 
of  the  brush,  rub  off  the  priming  in  different  parts  of 
the  work,  and  there  will  be  no  uniformity  in  the  finish- 
ing coat,  but  it  will  leave  some  parts  dead  and  others 
of  a  shining  surface.  The  middle  coat  may  be  of  size 
color  applied  warm  ;  use  but  little  color  in  your  size  or 
it  will  scale. 

To  prepare  knotting,  grind  some  lead-powder  in  water, 
and  mix  it  with  strong  glue-size  :  put  it  into  an  iron 
vessel,  and  when  used  it  must  be  applied  to  the  knots 
with  a  brush  quite  warm.  To  make  priming,  mix  or 
grind  red  and  white  lead  with  linseed  oil ;  then,  for  the 
dryers,  take  a  little  litharge  and  burnt  white  vitriol,  or 
patent  dryers,  which  must  be  ground  on  a  slab  very  fine 
in  turpentine.  Mix  them  altogether,  and  thin  with 
boiled  oil. 

The  burnt  vitriol  and  litharge  act,  as  it  were,  in  oppo- 
sition to  each  other,  and  render  the  paint  exceedingly 
drying  ;  and  the  turpentine,  with  the  boiled  oil,  prevents 
the  color  from  running  down  the  quicks  of  the  work. 
When  the  priming  is  dry,  fill   up  the  nail-holes  and 


ARTIST    AND    TRADESMAN'S    COMPANION.  129 

crevices  with   puttj.      Rub   the  surface  of  the  work 
smooth  with  glass-paper,  and  dust  it  well. 

The  Second  Coat  for  White. — If  this  coat  is  intended 
as  a  finish,  too  much  oil  must  not  be  added,  or  the  work 
will  turn  yellow.  Mix  the  white  lead  in  raw  linseed 
oil,  with  equal  parts  of  oil  and  turps  and  a  little  lith- 
arge ;  but  it  does  not  require  so  much  as  in  the  priming, 
as  it  will  dry  in  a  little  time  if  the  first  coat  is  hard. 
The  white  may  be  heightened  with  a  little  lamp-black 
or  Prussian  blue. 

The  Third  Coat. — If  this  coat  is  intended  to  have  but 
little  gloss,  the  white  lead  must  be  mixed  in  linseed  oil, 
but  not  too  stifi*,  and  thinned  with  spirits  of  turpentine, 
adding  to  it  a  little  litharge  and  burnt  white  vitriol,  and 
also  a  very  small  portion  of  lamp-black.  For  white : 
If  a  dead  white  is  required  for  the  finishing  coat,  the 
white  lead  must  be  ground  as  stiff  as  possible  in  linseed 
oil,  and  made  quite  thin  with  spirits  of  turpentine,  which 
requires  no  driers.  A  small  portion  of  lamp-black  may 
be  added  to  heighten  the  white,  and  ground  exceedingly 
fine  and  strained. 

Painting  in  Dead  Colors  for  Inside  Work. — If  the 
work  is  to  be  painted  in  a  superior  manner,  new  wood 
requires  three  coats  of  oil  color  and  a  flat,  as  the  flat  Is 
not  intended  to  give  body  to  the  work,  but  is  a  thin 
wash,  merely  to  beautify  and  give  a  smooth,  solid,  and 
uniform  appearance ;  and  to  apply  this  last  coat,  which 
is  generally  about  the  third  day  after  the  last  coat  of 
oil  paint,  as  the  flatting  will  then  appear  soft.     If  the 

G* 


130  ARTIST    AND    TRADESMAN'S    COMPANION. 

last  coat  of  oil  paint  remains  to  get  hard,  the  flatting 
will  appear  harsh  and  streaky.  The  proper  method  of 
flatting  a  door  is  to  begin  and  finish  the  panels,  taking 
care  to  cut  them  in  clean  ;  proceed  with  the  styles, 
working  the  color  quick,  in  order  to  keep  it  from  setting 
before  the  door  is  finished  ;  and  if  the  flatting  should 
set  on  any  part  of  the  work,  it  must  be  rubbed  up  with 
fresh  color  as  you  proceed  to  finish,  otherwise  it  will 
not  have  an  uniform  appearance. 

To  Flat  a  French  Gray  on  hard-finished  Walls. — In 
painting  a  new  wall,  the  oil  should  be  put  on  quite  warm, 
in  order  to  make  the  paint  adhere ;  without  this  precau- 
tion the  paint  would  be  apt  to  rise  and  fall  off  in  scales. 
The  first  coat  to  be  applied  to  the  wall  is  good  boiled 
oil ;  when  this  is  dry  and  hard,  a  thin  coat  of  weak  size 
may  be  put  on  tinged  with  red  lead,  in  order  to  stop  the 
suction  of  the  wall,  and  bring  the  work  to  an  uniform 
appearance.  When  this  second  coat  is  dry,  the  wall 
must  be  painted  with  a  thin  coat  of  light  lead  color, 
mixed  in  boiled  oU,  to  which  a  little  spirits  of  turpen- 
tine and  litharge  must  be  added  to  harden  it.  When 
this  coat  is  dry,  rub  it  smooth  with  sand-paper,  procure 
some  of  the  best  English  ground  lead,  and  mix  it  with 
equal  parts  of  raw  linseed  oil  and  spirits  of  turpentine ; 
then,  to  form  the  French  gray,  stain  the  white  paint 
with  Prussian  blue,  and  tinge  it  with  vermilion  to  give 
it  a  warm  appearance ;  some  burnt  white  vitriol  must 
also  be  added  to  give  it  a  drying  quality.  Strain  the 
color  through  a  coarse  cloth,  or  a  sieve  made  of  fine 


ARTIST    AND    TRADESMAN  S    COMPANION.  131 

wh"e.  When  it  has  stood  three  or  four  days,  the  work 
■will  be  in  good  order  for  flatting ;  but  before  this  is  put 
on,  the  work  should  be  lightly  rubbed  with  sand-paper, 
and  well  dusted. 

To  make  and  apply  the  Flatting. — Mix  the  best  Eng- 
lish ground  white  lead  with  spirits  of  turpentine  to  the 
thickness  of  treacle,  put  in  Prussian  blue,  finely  ground, 
in  equal  parts  of  oil  and  turpentine.  To  make  a  superb 
gray,  lake  must  be  substituted  for  vermilion.  Great 
care  must  be  taken  to  match  the  shade  of  the  last  coat, 
by  comparing  the  flatting  with  the  remains  of  the  last 
color  which  may  have  been  left  in  the  paint-pot.  It 
should  be  observed  that  the  flatting  must  be  made  about 
one-third  lighter,  as  the  ground-color  will  not  be  so  apt 
to  show  through,  and  it  will,  therefore,  give  the  work  a 
more  solid  appearance.  When  the  flatting  is  brought 
to  the  proper  shade,  strain  it,  and  thin  it  to  the  proper 
consistency  for  use.  Good,  soft-spreading  brushes  must 
be  used,  otherwise  it  will  be  impossible  to  make  good 
work.  If  the  wall  be  from  eight  to  ten  feet  high,  it  will 
require  two  men  to  flat  it.  Fix  a  scaffold  from  one  end 
of  the  wall  to  the  other,  a  proper  depth  from  the  ceil- 
ing, in  order  to  reach  with  care  the  top  of  the  work. 
Let  the  color  be  properly  thinned  and  stirred  from  the 
bottom,  and  be  careful  to  have  everything  provided,  as 
you  cannot  leave  off  work  till  one  flank  is  finished. 
The  bottom  of  the  wall  must  be  commenced  first,  paint- 
ing not  more  than  twelve  or  eighteen  inches  wide  at  one 
time.     Move  the  brush  in  a  perpendicular  direction, 


132  ARTIST    AND    TRADESMAN'S     COMPANION. 

and  when  you  have  painted  as  high  as  you  can  conve- 
niently reach,  carefully  cross  the  work  with  a  light  hand, 
in  order  to  give  the  color  an  uniform  extension.  When 
this  is  done,  finish  the  work  by  laying  it  off  very  lightly, 
beginning  at  the  bottom  and  striking  the  brush  up  about 
a  foot,  then  from  the  top  lightly  draw  the  brush  to  the 
bottom.  When  this  is  done,  the  man  on  the  plank  must 
begin  where  the  other  left  off,  and  finish  the  top.  In 
the  meantime  the  man  on  the  floor  must  begin  another 
width,  and  so  proceed  till  one  side  of  the  wall  is  fin- 
ished. 

N.  B. — The  same  precaution  will  be  highly  necessary 
in  flatting  every  other  color. 

Instructions  for  Writing,  with  the  Colors  to  he  used  for 
the  Ground  and  Letters. — On  an  oak  ground,  ornamental 
letters,  in  ultramarine  blue,  filled  in  with  gold  and  silver 
leaf,  blocked  up  and  shaded  with  burnt  sienna. 

Another. — Gold  letters  on  a  white  marble  ground, 
blocked  and  shaded  with  a  transparent  brown  or  burnt 
sienna. 

On  glass  :  Gold  letters,  shaded  with  burnt  sienna. 

Another. — Gold  letters,  shaded  with  black,  on  a  scar- 
let or  chocolate  ground. 

On  a  rich  blue  ground,  gold  letters,  double  shaded, 
black  and  white. 

White  letters  on  a  blue  ground,  shaded  with  black, 
looks  very  well. 

On  a  purple  ground,  pink  letters  shaded  with  white. 


ARTIST    AND    TRADESMAN'S    COMPANION.  IPj?) 

Mix  ultramarine  and  vermilion  for  a  ground-color, 
white  letters,  shaded  with  a  light  gray. 

Vermilion   ground,  chrome  yellow  stained  with  ver 
milion  and  lake  for  the  letters,  shaded  black.     A  sub- 
stitute for  the  above  colors  :   Eose  pink  and  red  lead  ; 
and  for  the  letters,  stone  yellow,  white  lead,  and  Vene- 
tian red. 

A  good  substitute  for  gold  is  obtained  by  grinding 
white  lead,  chrome  yellow,  and  a  dust  of  vermilion  to- 
gether. Mix  your  colors  for  writing  in  boiled  oil,  and 
use  for  driers  gold  size. 

Before  writing,  set  or  mark  out  your  work  with  a 
piece  of  chalk,  pipe-clay,  charcoal  or  pencil,  as  the  color 
of  the  ground  may  require.  Let  your  capital  letters  be 
a  little  higher  than  the  others,  and  the  person's  name 
the  largest  on  the  board,  the  trade  next  in  size  to  the 
name. 

In  preparing  your  board  for  writing,  let  your  color  be 
well  strained,  and  mix  in  linseed  oil  with  the  addition 
of  a  little  boiled  oil  to  give  a  gloss.  Always  wash  youi 
board  with  clean  water  before  writing  it.  If  it  be  for 
gold  letters,  and  the  board  is  stickey  from  being  re- 
cently painted,  take  the  white  of  an  egg,  and  as  much 
cold  water,  well  mixed  together,  and  with  a  sponge  or 
clean  tool,  go  all  over  the  surface  with  it.  Let  it  get 
quite  dry,  and  go  over  the  same  with  powdered  whiting, 
and  afterwards  brush  off  all  you  can.  This  is  to  pre- 
vent your  gold  sticking  to  the  board  ;  be  sure  to  let 
none  of  the  yolk  of  the  egg  mix  with  the  white.  When 
you  have  written  in  gold-size  about  a  dozen  letters,  try 


134  ARTIST    AND    TRADESMAN'S    COMPANION. 

if  the  first  be  ready  to  gild  :  this  may  be  known  by  the 
touch  of  the  finger ;  if  it  is  a  little  stickey,  it  is  ready. 
To  gild  :  Lay  on  the  gold  from  your  book  as  carefully 
as  possible,  by  gently  pressing  it  to  the  letters  leaf  after 
leaf,  with  care  not  to  I'umple  it ;  then  brush  off  with  a 
piece  of  cotton  wool  or  hare's  tail,  or  some  other  soft 
substance,  all  the  loose  bits,  mending  the  holes,  if  any, 
with  the  same.  The  pencils  used  in  this  work  are  of 
camel's  hair  of  various  lengths  and  sizes. 

In  using  gold  or  silver  leaf,  when  applied  from  your 
book,  press  it  up  gently  with  your  piece  of  cotton 
wool. 

Other  good  grounds  for  gold  letters  are  :  blues,  ver- 
milion, lakes,  and  saxon. 

To  give  Lustre  to  a  Light  Line  Ground. — After  the 
letters  are  written  and  dry,  paint  the  ground  over  again 
between  the  letters  with  the  same  color,  and  while  wet, 
take  pulverized  Prussian  blue  and  sift  over  the  surface ; 
glass,  frost,  or  smalts,  may  be  used  instead  of  or  with 
the  blue.     When  dry,  brush  off  the  loose  particles. 

Harmony  of  Colors. — Red  looks  well  with  blacks, 
whites,  or  yellows. 

Blues  harmonize  with  whites  and  yellows. 
Greens,  with  whites,  black  or  yellow. 
Gold,  with  blacks  or  browns. 
White  appears  well  with  any  color. 
Purple,  pink  and  white,  &c.,  &c. 

For  Marbling  Paper. — Mix  a  solution  of  gum  traga^ 
eanth,  prepared  as  follows  :  The  gum  is  of  a  pale  white 


ARTIST    AND    TRADESMAN'S    COMPANION.  135 

transparent  color ;  a  pure  white  is  not  so  good,  nor  is 
the  gum  of  a  brownish  color  so  good.  Soak  the  gum 
in  water  fifty  hours,  one-quarter  of  a  pound  to  three 
gallons  of  water ;  strain  it  through  a  fine  hair-sieve  or 
cloth  ;  when  reduced  to  the  thickness  of  gum  used  in 
miniature  painting,  to  be  well  stirred  up  when  used. 
Then  pour  the  above  into  a  wooden  trough,  about  two 
inches  and  a  half  larger  each  way  than  the  sheets  of 
paper.  Commence  work  by  sprinkling  the  color  into 
the  trough,  which  must  be  full  of  the  solution  mixed 
with  equal  parts  of  ox-gall  and  oil  of  turpentine,  having 
a  brush  in  each  separate  color,  then  thin  it  with  a  little 
clean  water.  When  you  throw  your  spots  in,  if  they 
spread  too  much,  the  color  has  too  much  gall  in ;  if 
they  contract  again  after  spreading,  there  is  not  enough 
gall  in.  To  prepare-  the  paper  for  use  dip  it  in  water 
over  night ;  if  in  sheets,  lay  them  on  each  other,  and 
place  a  weight  upon  them.  In  using  the  paper,  take 
hold  of  it  at  angles  of  the  corners,  and  place  it  on  the 
colors  sprinkled  on  the  top  of  the  solution  in  your 
trough,  then  take  it  carefully  ofl^,  and  hang  it  up  to  dry. 
To  produce  a  variety  of  patterns  with  changes  of  colors  : 
When  your  gum-water  or  solution  is  in  the  trough,  first 
throw  on  red  till  it  is  nearly  covered,  then  yellow  or 
black  and  green  also,  you  may  add  a  little  purple,  with 
plenty  of  gall  and  water  in  it.  To  form  different  pat- 
terns, use  an  instrument  similar  to  a  rake's  head  or  a 
comb,  twelve  or  eighteen  inches  in  length,  stirring  the 
colors  with  the  teeth,  in  circular  or  zig-zag,  oval,  or  any 
other  direction  your  taste  may  suggest.     For  another  : 


136  ARTIST    AKD    TRADESMAN'S    COMPANION. 

Use  the  same  colors  as  before,  with  the  addition  of  blue 
in  oil  of  turpentine.     Another  :  Begin  by  throwing  on 
yellow,  then  red,  black,  and  green  ;  draw  lines  through 
the  colors  with  your  comb,  and   afterwards  throw  on 
blue,  pink,  green,  or  pui-ple,  thinned  with  gall  and  oil 
of  turpentine.     Another,  handsome  pattern  :  Throw  in 
fine    red    for   veins,    then   blue,    in    oil    of  turpentine. 
Another  :  Throw  on  some  dark  bltf€,  mixed  with  oil  of 
turpentine.      Prepare   your  paper  first  for  this  color, 
stained  with  French  berries  boiled  in  water,  add  a  little 
spirit  of  liquid  blue,  then  carefully  brush  it  over  the 
paper.     To  obtain  variety,  you  may  stain  your  paper 
first  with  red,  pink,  yellow,  or  blue,   before  dipping. 
Another :   Use  yellow  ochre,  burnt  red,  and  Venetian 
red,  of  equal    parts,  orange   orpiment,  or   rose   pink. 
Another  :    Orange  brown,  two  parts  of  Venetian  red, 
and  one  part  of  orange  lead.     Another :  Umber  color, 
equal   parts  of  orange  lead,  Venetian   red,  and   ivory 
black.     To  lighten  the  color  use  more  orange  lead ;  to 
darken  it,  more  black.     Another  :   Cinnamon  color,  a 
little  Prussian  blue  and  Venetian  red.     For  fine  work 
in  splendid  colors,  use  drop  lake,  vermilion,  one  part, 
rose  pink,  three  or  four  parts  mixed  together,  indigo, 
Prussian  blue,  king's  yellow,  or  pink,  &c. 

For  marbling  paper,  a  trough  of  the  following  de 
scriptiou  is  required,  made  of  wood  :  About  two  inches 
in  depth,  the  length  and  breadth  being  half  an  inch 
larger  than  the  sheets  of  paper,  the  sides  must  be  sloped 
off  to  give  the  required  width  at  the  top,  and  to  prevent 
waste  of  color ;  the  outside  edges  must  be  leveled  off 


ARTIST    AND   TRADESMAN'S    COMPANION.  137 

to  prevent  any  drops  of  color  which  may  fall  on  them 
from  flowing  back  into  it  and  soiling  its  contents.  Fill 
the  trough  with  the  following  solution  :  Take  of  gum 
tragacanth  a  quarter  of  a  pound,  soak  it  three  days  in  a 
gallon  of  water,  after  this  dilute  it  to  the  thickness  of 
gum  used  in  miniature  painting,  strain  it  through  a  hair- 
sieve  on  cloth,  and  pour  it  into  the  trough.  When  you 
use  this  solution  stir  it  well  in  the  trough.  A  skimmer 
or  clearing  stick  must  be  provided  for  each  trough,  two 
or  three  inches  wide,  half  an  inch  thick,  and  as  long  as 
the  inside  of  the  trough,  for  the  purpose  of  clearing  the 
surface  of  filth.  As  many  glazed  pipkins  as  you  have 
colors  will  be  required  to  keep  them  separately.  When 
ground  very  fine  in  water  to  the  thickness  of  paste,  and 
thinned  down  with  equal  quantities  of  ox-gall  and  oil  of 
turpentine.  Spreading-brushes  have  been  used  for  the 
purpose  of  throwing  the  colors  on  the  solution,  but  the 
patent  tin-case  circular-brush  is  far  better  for  the  pur- 
pose, as  a  cistern  at  the  back  supplies  the  brush  with 
the  color,  effecting  a  saving,  the  machine  being  held  over 
the  trough  with  the  left  hand,  and  working  with  the 
right.  To  produce  spots  like  lace-work,  supply  your 
circular-brush  sparingly  with  the  colors  thinned  with 
water ;  and  in  doing  this,  if  the  spots  spread  out  too 
large,  the  colors  have  too  much  gall ;  if,  after  spreading, 
they  contract  again,  there  is  too  little  gall.  To  remedy 
the  former  case,  add  more  color ;  the  latter,  more  gall. 
Your  paper  for  marbling  should  be  prepared  by  dipping 
in  water  over  night,  the  sheets  laid  on  each  other  with  a 
weight  on  them.     The  process  is  as  follows  :  The  whole 


138  ARTIST    AND    TRADESMAN'S    COMPANION. 

surface  of  the  solution  must  be  covered  with  the  various 
colors  for  the  purpose,  then,  with  an  instrument  like  a 
large  comb,  termed  in  the  trade  quills,  stir  the  surface 
in  whirls,  streaks,  &c.,  according  to  the  pattern  you  wish 
to  produce,  proceed  now  to  lay  on  in  the  most  gentle 
and  even  manner  your  sheets  of  paper  upon  the  colors 
in  the  trough,  the  parts  which  do  not  touch  the  color 
softly  press  with  the  hand  ;  take  them  off  with  care 
and  hang  them  up  to  dry  upon  round  rods,  about  an 
inch  and  a  half  in  diameter.  When  the  solution  of  gum 
in  the  trough  gets  dirty,  throw  it  away,  and  supply  its 
place  with  some  fresh  ;  and  when  the  colors  become 
too  thick  for  use  in  the  pots,  add  fresh  color  ground 
with  water,  and  a  little  gall  added,  and  well  stirred  to- 
gether ;  be  particular  in  getting  good  oil  of  turpentine, 
and  keeping  your  colors  clean.  Observe,  for  book 
edges,  dip  one  volume  at  a  time,  doing  the  ends  first. 
It  is  the  safest  way  to  tie  the  book  between  boards  be- 
fore dipping.  For  convenience  and  economy  a  small 
trough  may  be  used  for  books.  Marbled  paper  is  glazed 
by  a  machine.  Book  edges  are  polished  by  the  agate 
burnisher.  Hot-pressing  may  be  used  for  any  fancy- 
work.  Paper-varnish  will  beautify  the  paper;  paste 
and  moisture  takes  the  glaze  off  marbled  paper. 

For  graining  on  paper,  mix  the  color  you  intend  for 
the  ground  in  London-size,  or  parchment-size ;  with  a 
wide  brush  put  your  color  on  quickly  for  the  ground. 
Black,  red,  and  white,  or  any  color  you  may  choose, 
have  ready  prepared  in  size,  throw  on  the  spots  while 
the  ground  is  wet.     Use  the  patent  circular-brush  granit 


ARTIST    AND    TRADESMAk's    COMPANIOK.  189 

ing  machines*  to  throw  in  the  spots,  and  immediately 
after  sift  on  your  glass,  frost,  or  smalts,  and  put  aside 
for  drying. 

To  prepare  the  Ground  for  the  Oak  Hollers. — Stain 
your  white  lead  with  raw  terradasienna  and  red  lead,  or 
with  chrome  yellow  and  Venetian  red  ;  thin  it  with  oil 
and  turps,  and  strain  it  for  use.  When  the  ground-work 
is  dry,  grind  in  beer  Vandyke  brown,  whiting,  and  a 
little  burnt  terradasienna,  for  the  grainiug-color  ;  or  you 
may  use  raw  terradasienna  with  a  little  whiting,  um- 
bers, &;c.  "^ 

Oil  for  Graining  Oa^.— Grind  Vandyke  brown  in 
turps,  add  as  much  gold-size  as  will  set  it,  and  as  much 
soft  soap  as  will  make  it  stand  the  comb. 

Should  it  set  too  quickly,  add  a  little  boiled  oil.  Put 
a  teaspoonful  of  gold-size  to  half  a  pint  of  turps,  and  as 
much  soap  as  will  lay  on  a  twenty-five  cent  piece ;  then 
take  a  little  soda  mixed  with  water  and  take  out  the 
veins. 

Spirit  Graining  for  Oak. — Two  pounds  of  whiting, 
quarter  of  a  pound  of  gold-size,  thinned  down  with 
spirits  of  turpentine ;  then  tinge  your  whiting  with  Van- 
dyke brown  and  raw  terradasienna  ground  fine,  strike  out 
your  lights  with  a  fitch  dipped  in  turpentine,  tinged  with 
a  little  color  to  show  the  track,  and  every  few  strokes 
wipe  off  the  color  to  show  the  lights.     If  your  lights  do 

*  These  machines  are  in  use  to  a  considerable  extent  in  England, 
but  not  much,  that  I  am  aware  of,  in  this  country. 


140  ARTIST  AND   TRADESMAN'S    COMPANION. 

not  appear  clear,  add  a  little  more  turpentine.  Turpen- 
tine varnish  is  a  good  substitute  for  the  above  men- 
tioned. 

This  kind  of  graining  must  be  brushed  over  with 
beer,  with  a  clean  brush,  before  varnishing.  Strong 
beer  must  be  used  for  glazing  up  top  graining  or 
shading. 

Another  Cream.  —  Mix  raw  terradasienna,  red  and 
white  lead,  to  the  tint  required  for  the  ground  :  when 
this  is  applied  and  dry  and  made  smooth  with  fine  glass- 
paper,  the  graining  color  may  be  applied,  for  which  take 
four  ounces  of  sugar  of  lead,  four  ounces  of  raw  terra- 
dasienna, whiting,  and  Vandyke  brown,  and  grind  them 
quite  stiff  in  boiled  linseed  oil.  Take  eight  ounces  of 
bee's  wax  and  melt  it  in  an  iron  ladle  or  earthen  pipkin, 
and  when  fluid  take  it  a  distance  from  the  fire,  and  pour 
in  gradually  spirits  of  turpentine,  to  the  consistency  of 
thick  treacle  :  put  a  small  quantity  of  this  (grainer's 
cream)  into  the  graining  color,  in  order  to  keep  it  from 
flowing  together.  If  the  composition  should  set  too 
quick  before  it  can  be  conveniently  worked,  add  a  small 
portion  of  boiled  oil ;  or,  should  it  flow  too  freely,  add 
some  of  the  cream.  This  style  of  oak  requires  working 
with  combs  of  various  sizes.  Observe,  that  for  the 
purpose  of  graining  mouldings,  it  will  be  necessary  to 
prepare  small  combs  in  a  variety  of  forms. 

Application. — Spread  the  graining  color  over  the  sur 
face  of  the  work  with  a  large  paint-brush,  about  half 
wcTn  ;  take  a  coarse  comb  and  pass  over  it  in  a  straight 


ARTIST    AND    TRADESMAN'S    COMPANION.  141 

direction,  pressing  moderately  hard  ;  after  which,  take 
a  finer  comb  and  pass  over  it  several  times  in  a  wavy 
direction  ;  then  with  an  ivory-comb,  with  the  two  out- 
side teeth  broken  off,  pass  over  the  centre  of  the  work 
with  a  very  tremulous  motion  of  the  hand,  in  order  to 
produce  the  finest  grain  which  is  in  the  centre  of  the 
tree.  To  produce  flowers  or  veins,  use  a  piece  of  thin 
wash-leather,  wrapped  tight  round  the  thumb,  and  wipe 
them  out  with  the  thumb  nail,  or  twist  the  leather  to  a 
point  and  hold  it  between  the  thumb  and  finger.  By 
taking  these  methods,  the  thickest  or  finest  veins  may 
be  struck  out  successfully.  When  the  whole  of  your 
work  is  dry,  dip  the  flat  hog's  hair  graining-brush  into  a 
small  quantity  of  burnt  umber,  ground  up  in  ale  very 
thin,  and  pass  over  it  in  a  straight  direction.  This  will 
leave  the  fine  transparent  grain  so  natural  to  this  wood. 
When  dry,  varnish. 

Another  Oak. — This  ground-color  is  prepared  with 
white  lead  and  chrome  yellow,  heightened  with  a  little 
Venetian  red.  When  your  ground  is  dry,  take  burnt 
umber  and  grind  it  in  equal  parts  of  boiled  oil  and  tur- 
pentine ;  when  this  is  done,  take  an  equal  proportion  of 
copperas  (white  vitriol),  previously  baked  in  an  oven  or 
stove,  till  the  moisture  is  evaporated,  which  will  take 
place  in  a  few  minutes.  This  operation  must  be  per- 
formed  in  a  glazed  earthen  bowl,  as  it  will  adhere  so 
firmly  to  any  rough  vessel  that  it  would  be  difficult  to 
separate  them.  When  the  copperas  is  burnt,  it  must  be 
ground  in  raw  linseed  oil,  and  mixed  with  the  above  in- 


142  ARTIST    AND    TRADESMAN'S    COMPANION. 

gredients ;  then  take  one-sixth  in  bulk  of  castile  soap, 
melted  over  the  fire  in  a  little  boiled  oil ;  mix  this  also 
with  the  other  ingredients  ;  thin  the  whole  down  with 
boiled  oil  and  turpentine  to  the  proper  consistency  for 
graining.  If  the  grain  should  run  together  too  freely, 
use  a  greater  proportion  of  spirits  of  turpentine ;  or 
should  it  set  too  quick,  add  more  boiled  oil.  Proceed 
to  finish  exactly  as  in  the  last. 

To  Imitate  Oak  in  Distemper. — To  prepare  the  ground 
for  this,  make  a  very  light  yellow  with  stone  ochre  and 
white  lead.  The  graining  colors  used  for  this  specimen 
are  equal  quantities  of  raw  umber  and  stone  yellow, 
ground  veiy  fine  in  ale.  This  should  be  kept  in  a  well- 
corked  bottle,  in  order  to  keep  dust  and  other  impurities 
from  it ;  and  when  required  for  use,  it  should  be  diluted 
with  ale  to  a  proper  consistency  for  graining.  When 
your  ground  is  dry,  take  a  large  tool  well  filled  with 
this  color,  rub  it  over  the  panel  in  an  even  manner,  have 
ready  a  sponge,  a  bowl  of  water,  and  a  straight  edge. 
Place  the  straight  edge  against  the  work,  and,  with  the 
sponge  moistened  with  water,  draw  out  the  light  shades  in 
a  perpendicular  manner,  then  wipe  with  a  brush  the  panel, 
striking  the  work  with  the  end  of  the  brush  in  quick 
succession  till  you  get  to  the  bottom,  when,  if  done  ac- 
cording to  these  directions,  it  will  leave  the  natural 
grain  of  the  wood.  When  this  operation  is  finished, 
immediately  take  a  piece  of  wash-leather,  moistened, 
and  wipe  out  the  veins ;  and  when  this  is  dry,  put  in 
some  dark  veins  of  the  same  color ;  allow  this  to  dry 


ARTIST   ANB   TRADESMAN'S    COMPANION.  143 

also,  then,  with  a  flat  hog's  hair  brush,  dipped  into  burnt 
umber  thinly  diluted  with  ale,  pass  over  the  panel  in  a 
perpendicular  direction ;  and  as  soon  as  one  panel  is 
finished,  take  a  wet  rag  or  sponge  and  carefully  wipe  off 
all  the  color  which  may  have  gone  beyond  the  panel. 
When  all  your,  panels  are  finished,  commence  on  the 
middle  upright  styles,  varying  the  grain  according  to 
taste,  but  always  in  a  downward  direction.  When  all 
the  middle  styles  are  thus  far  completed,  lay  the  straight 
edge  over  the  work  finished,  and  pass  the  tool  with  a 
little  of  the  graining  color  from  top  to  bottom  of  the 
door ;  this  will  make  a  neat  job,  both  at  the  end  of  the 
styles  and  panels.  When  dry,  take  the  flat  graining- 
brush  and  dip  it  in  the  thin  glaze  of  umber,  and  pass 
over  the  work,  not  too  straight  and  formal,  but  in  a 
spirited  manner,  occasionally  giving  a  free  turn  to  the 
brush,  which  will  give  a  pleasing  variety  and  make  the 
imitation  look  quite  natural.     When  dry,  varnish. 

N.  B. —  All  distemper-graining  requires  two  good 
coats  of  varnish  :  beer  it  over  before  you  varnish  it  a 
second  time. 

Another  Oak. — This  method  of  imitating  oak  in  dis- 
temper is  so  excellent,  that  should  it  be  exposed  con- 
tinually to  the  hot  rays  of  the  sun,  it  will  never  fade. 
Make  a  rich  ground-color  with  stone  ochre,  burnt  terra- 
dasienna,  chrome  yellow,  and  white  lead.  For  your 
graining-color,  dissolve  some  gum  Arabic  in  hot  water, 
and  mix  it  with  raw  terradasienna,  whiting,  and  Van- 
dyke, ground  m  beer.     When  tHe  ground  is  dry,  spread 


144  ARTIST    AND    TRADESMAN'S    COMPANION. 

the  surface  very  even,  then  take  a  dry  duster  and  draw 
it  down  upon-;  the  work,  pressing  moderately  hard ; 
comb  the  color  while  wet,  and  allow  it  to  get  perfectly 
dry,  then  with  a  camel-hair  pencil,  dipped  in  clear  water, 
put  in  your  veins.  Allow  the  work  to  remain  a  few 
seconds  till  the  water  has  dissolved  the  gum  Arabic, 
and  then  beat  the  veins  out  with  a  dry  duster  or  cloth, 
in  a  downward  direction.  After  this,  use  the  flat  brush, 
and  pass  over  the  work  with  a  thin  glaze  of  Turkey 
umber,  ground  in  ale.  Should  the  veins  not  beat  out 
sufficiently  clear,  add  a  little  more  gum  to  the  color, 
but  care  must  be  taken  not  to  put  too  much,  as  the 
work  would  be  likely  to  crack.     When  dry,  varnish. 

To  Imitate  Old  Oak. — To  make  an  exceedingly  rich 
color  for  the  imitation  of  old  oak.  The  ground  is  a 
composition  of  stone  ochre  or  orange  chrome  and  burnt 
terradasienna.  The  graining-color  is  burnt  umber  or 
Vandyke. brown,  to  darken  it  a  little.  Observe  that  the 
above  colors  must  be  used  whether  the  imitation  is  in 
oil  or  distemper.     When  dry,  varnish. 

To  Grain  Oak  in  Distemper. — The  ground  either  light 
or  dark.  When  the  ground  is  dry  and  made  quit< 
smooth,  then  with  a  fitch  form  your  veins  with  a  littl 
ochre,  ground  in  turpentine  varnish.  When  the  dis- 
temper-color for  the  combining  is  applied  after  the  veins 
are  formed  on  the.  plain  ground,  then  whip  and  comb  in 
with  your  color  mixed  with  beer.  When  dry,  varnish  ; 
which  varnish  will  bring  the  lights  out  which  were  first 


ARTIST    AND    TRADESMAN'S    COMPANION.  145 

struck  out.     When  dry,  wet  the  whole  with  a  little 
beer,  glaze  up  and  varnish. 

To  Imitate  Old  Oak  in  Oil. — Grind  Vandyke  and 
whiting  in  turpentine,  add  a  bit  of  common  soap  to 
xrake  it  stand  the  comb,  and  thin  it  with  boiled  oil. 

Pollard  Oak  in  Distemper,  with  a  Roller  or  hand- 
work.— Form  large  dark  patches  with  Vandyke  brown 
on  the  ground  ;  then  with  a  softener  draw  from  patch 
to  patch,  then  take  a  short  cut  hair  pencil  or  a  small 
piece  of  sponge  tied  to  the  end  of  a  stick,  and  by  turn- 
ing it  round  between  the  thumb  and  finger,  form  your 
curls  or  knots  on  the  patches  :  to  render  it  more  showy, 
put  in  some  patches  of  lake  and  burnt  terradasienna, 
and  form  knots  in  the  same  way  as  above ;  then  top 
grain,  which  grain  must  cross  all  the  other  grains.  As 
soon  as  dry,  which  will  be  in  a  few  minutes,  give  it  a 
coat  of  equal  parts  of  gold-size  and  turps,  to  be  used  as 
a  varnish,  as  it  dries  quickly  where  expedition  is  re- 
quired. When  dry,  glaze  over  with  Vandyke  brown  or 
ivory-black,  ground  in  beer,  then  with  a  soft  piece  of 
rag  or  sponge  take  out  your  shades,  soften,  varnish,  and 
finish  your  work. 

To  Imitate  Pollard  Oak. — The  ground-color  is  pre- 
pared with  a  mixture  of  chrome  yellow,  vermilion,  and 
white  lead,  to  a  rich,  light  buff.  The  graining-colors  are 
Vandyke  brown  and  small  portions  of  raw  and  burnt 
terradasienna  and  lake,  ground  in  ale  or  beer.  Till  a 
large  tool  with  color,  spread  even  the  surface  to  be 

7 


146  ARTIST    AND    TRADESMAN'S    COMPANION. 

grained,  and  soften  with  the  badger-hair  brush.  Take  a 
moistened  sponge  between  the  thumb  and  finger,  and 
dapple  round  and  round  in  kind  of  knobs,  then  soften 
very  lightly  ;  then  draw  a  softener  from  one  set  of 
knobs  to  the  other  while  wet,  to  form  a  multiplicity  of 
grains,  and  finish  the  knots  with  a  hair-pencil,  in  some 
places  in- thicker  clusters  than  others.  When  dry,  put 
the  top  grain  on  in  a  variety  of  directions,  and  varnish 
with  turps  and  gold-size ;  then  glaze  up  with  Vandyke 
and  strong  ale.     To  finish,  varnish  with  copal. 

Pollard  Oak  in  Oil. — The  ground  is  a  rich  buff,  pre- 
pared the  same  as  the  pollard  oak  in  distemper.     The 
graining-colors  are  :  equal  portions  of  burnt  Turkey  um- 
ber or  Vandyke,  raw  terradasienna  and  burnt  copperas, 
ground  separately  in  boiled  oil  or  turps  very  stiff;  then 
mix  them  together,  and  thin  the  whole  with  spirits  of 
turpentine ;  then  with  a  large  sash-tool  rub  a  very  light 
coat  on  the  panel,  and,  while  wet,  take  the  flat  graining 
brush,  containing  a  very  thin  row  of  hairs,  dip  it  into 
the  color,  and  in  a  spirited  manner  dapple  in  various 
directions,  then  dip  the  brush   into   the  burnt  umber, 
which  has  been  made  quite  thin  with  spirits  of  turpen- 
tine, and  throw  on   some  very  fine  spirits.     When   the 
colors  are  set,  take  the  same  flat  brush,  dip  it  into  a 
thin  glaze  of  burnt  umber,  and  put  the  grain  on  in  a 
curly  direction.     Care  must  be  taken  to  have  a  sufl!icient 
quantity  of  oil  in  the  colors  to  bind  them,  and  to  finish 
but  a  small  part  of  the  surface  at  once,  in  order  to  keep 
it  moist,  the  work  will  then  blend  itself. 


ARTIST    AND    TRADESMAN'S    COMPANION.  147 

A  good  O^round  for  Mahogany. — One  pound  of  the 
best  English  Venetian  red,  two  ounces  of  chrome  yel- 
low, ground  together  in  equal  portions  of  linseed  oil 
and  turpentine.  If  a  light  ground  is  required,  use  the 
same  quantities  of  red  lead  and  chrome  yellow  ;  a  little 
vermilion  will  increase  the  richness  of  the  color.  Use 
for  the  graining-color  equal  quantities  of  Vandyke  brown 
and  burnt  terradasienna,  ground  in  ale  or  beer,  well 
ground  on  a  clean  stone ;  a  small  piece  of  lake  may  be 
added  for  the  light  grain.  The  feather  is  formed  with  a 
graining-roUer  in  a  few  seconds,  ready  for  softening. 

To  Imitate  Mottled  Mahogany. — The  ground  is  pre- 
pared with  the  best  English  Venetian  red,  red  lead,  and 
a  small  portion  of  white  lead.  The  graining-colors  re- 
quired are  burnt  terradasienna  ground  in  ale,  with  a 
small  portion  of  Vandyke  brown,  sufficient  to  take  away 
the  fiery  appearance  of  the  terradasienna.  Cover  the 
surface  to  be  grained,  soften  with  the  badger' s-hair  brush, 
and  while  wet  take  a  mottling-roller,  and  go  over  the 
lights  a  second  time,  in  order  to  give  a  variety  of  shade  ; 
then  blend  the  whole  of  the  work  with  the  badger 
softener.  Put  the  top  grain  on  with  the  same  color ; 
when  dry,  varnish. 

Another. — This  ground  is  prepared  with  vermilion  and 
a  very  small  portion  of  white  lead  and  chrome  yellow. 
The  graining-color  is  Vandyke  brown  and  a  little  crim- 
son lake,  ground  up  in  ale.  After  the  ground  is  dry  and 
made  smooth,  spread  a  thick  coat  on  the  surface  to  be 
grained,  and  soften  with  the  badger  hair-brush ;  take 


148  ARTIST    AND    TRADESMAN  S    COMPANION, 

out  the  lights  on  each  side,  and  use  a  roller  with  the 
imitation  carved  on  leather,  wetted  with  water ;  it  is 
expeditious  in  forming  a  feather,  or  mottling.  Blend 
the  whole  together  with  the  badger  hair-brush  till  the 
work  appears  very  soft.  Top  grain,  and  the  effect  will 
be  beautiful.     When  dry,  varnish. 

To  Imitate  New  Mahogany. — This  is  an  excellent 
method  of  preparing  for  the  imitation  of  new  mahogany. 
The  ground-color  must  be  prepared  with  equal  quan- 
tities of  chrome  yellow  and  red  lead,  with  a  little  burnt 
terradasienna.  The  graining-color  is  prepared  with  equal 
portions  of  raw  and  burnt  terradasienna,  finely  ground 
in  ale  or  beer.  After  the  ground  is  dry,  spread  a  thick 
coat  on  the  panel,  then  work  with  a  mottler  and  softener. 
When  dry,  put  on  the  top  grain  with  burnt  terradasienna. 
Varnish  when  dry. 

Another. — This  ground  is  prepared  with  stone  ochre, 
red  lead,  and  a  small  quantity  of  burnt  terradasienna. 
The  graining-color  is  a  mixture  of  Vandyke  brown  and 
dragon's  blood :  for  the  top  grain  a  greater  proportion 
of  Vandyke  brown  must  be  used.     Varnish  as  before. 

To  Imitate  Rosewood  with  Rollers. —  Brush  on  the 
graining-color  as  even  as  you  can  ;  then  pass  the  grain- 
ing-rollers  over  to  form  the  hearts  and  knots,  &c.  Pre- 
vious to  doing  this,  let  the  rollers  be  wetted  with  water 
and  rolled  on  a  cloth.  When  the  work  is  dry,  brush  it 
over  with  a  thin  coat  of  gold-size  and  turps  :  when  this 
is  dry,  top  grain  again  with  rollers,  and  varnish  it  over. 


ARTIST   AND   TRADESMAN'S    COMPANION.  149 

For  the  ground-color,  mix  the  best  English  Venetian 
red  with  linseed  oil  and  turps,  to  which  add  a  little  pa- 
tent dryers.  Vermilion  will  form  a  superior  ground, 
but  is  more  expensive. 

Another, — Mix  vermilion  and  a  small  quantity  of 
white  lead  for  the  ground.  Take  rose  pink,  tinged  with 
a  little  lamp-black,  or  Vandyke  brown,  and  grind  very 
fine  in  oil,  then  take  a  flat  graining-brush,  with  the  hairs 
cut  away  at  unequal  distances,  and  put  on  the  grain  as 
if  wending  round  a  knot.  When  nearly  dry,  take  a 
graining-comb  that  is  used  for  oak,  and  draw  down  the 
grain.  This  will  give  it  the  appearance  of  nature.  When 
dry,  varnish. 

Another. — The  ground  is  a  bright  red,  prepared  ex- 
actly the  same.  For  the  graining-colors,  grind  sepa- 
rately some  burnt  terradasienna  and  ivory-black,  very 
fine  in  ale  ;  mix  them  together,  and  with  the  tool  well 
cover  the  surface  of  the  work,  then  wipe  it  with  the 
softener,  to  form  the  small  speckled  grain.  When  dry, 
take  a  small  flat  graining-brush,  well  filled  with  ivory- 
black,  and  put  on  the  top  grain  in  a  knotty  form  ;  after 
this,  cut  the  top  grain  asunder  by  putting  in  the  heavy 
hearts  with  rollers.  When  the  first  coat  of  varnish  is 
dry,  grind  a  small  quantity  of  lake  in  ale,  and  with  a 
camel-hair  pencil  touch  round  the  knots  and  other  parts 
of  the  work.  When  dry,  finish  with  a  coat  of  clear 
varnish. 

Another. — This  ground-color  is  prepared  with  ver- 
milion and  small  quantities  of  white  lead  and  crimson 


150  ARTIST    AND    TRADESMAN'S    COMPANION. 

lake.  When  the  ground  is  dry  and  made  very  smooth, 
take  Vandyke  brown,  ground  in  oil,  with  a  small  tool 
spread  the  color  over  the  surface  in  different  directions, 
forming  kind  of  knots.  Before  the  work  is  dry,  take  a 
piece  of  leather,  and  with  great  freedom  strike  out  the 
light  veins  ;  having  previously  prepared  the  darkest  tint 
of  Vandyke  brown,  or  gum  asphaltum,  immediately 
take  the  flat  graining-brush,  with  few  hairs  in  it,  draw 
the  grain  over  the  work  and  soften.  When  varnished, 
the  imitation  will  be  excellent. 

Another,  in  Size. — Mix  Venetian  red,  white  lead  pow- 
der, vermilion,  and  common  size,  the  consistency  of 
which,  when  cold,  must  be  of  a  weak,  trembling  jelly. 
With  this  composition  paint  the  work  twice  over.  When 
the  ground  is  dry,  take  some  lamp-black,  finely  ground 
in  beer,  and  beat  the  white  of  an  egg  into  it ;  take  the 
flat  graining-brush,  dipped  in  the  black,  and  put  on  the 
grain. 

When  dry,  stain  the  first  coat  of  varnish  with  rose 
pink,  finely  ground  in  turpentine,  and  finish  the  work  by 
giving  it  a  coat  of  clear  varnish. 

To  Imitate  Bird''s-cye  Maple. — The  ground  is  a  light 
buff,  prepared  with  white  lead,  chrome  yellow,  and  a 
little  vermilion,  or  English  Venetian  red,  to  take  off  the 
rawness  of  the  yellow.  The  graining-color  is  equal  parts 
of  raw  umber  and  terradasienna,  ground  in  ale  to  the 
proper  consistency.  Spread  the  surface  of  the  work 
with  this  color,  and,  having  some  of  the  same  prepared 
a  little  thicker,  immediately  take  a  sash-tool  or  sponge, 


ARTIST    AND    TRADESMAN'S    COMPANION.  151 

and  put  on  the  dark  shades,  and  soften  with  the  badger 
hair-brush  ;  before  the  color  is  dry,  put  on  the  eyes  by 
dabbing  the  dotting  machine  on  the  work.  When  dry, 
put  on  the  grain  with  the  camel's-hair  pencil  in  the  pro- 
minent parts,  to  imitate  the  small  hearts  of  the  wood. 
When  dry,  varnish. 

Another. — The  ground  for  this,  prepare  in  oil,  with 
white  lead,  turps,  and  stained  with  chrome  or  stone 
ochre,  and  a  little  red.  The  graining-colors  are  three 
parts  of  raw  umber,  and  one  of  raw  terradasienna, 
ground  fine  in  ale.  Make  part  of  this  color  quite  thin, 
and  rub  a  transparent  coat  over  the  work,  and  while 
wet  take  the  flat  hog's-hair  graining-brush  and  dip  it  into 
some  thicker  color,  draw  the  veins  very  much  curled, 
and  rather  inclining  downwards  ;  then  take  a  feather  or 
goose-quill,  and  with  it  pass  over  the  work  in  the  same 
direction  as  the  flat-brush  was  used,  occasionally  giving 
a  sharp  turn,  and,  if  necessary,  pass  over  the  work  again  ; 
this  will  split  them  into  a  variety  of  forms.  While 
wet,  soften  the  whole  together,  and  put  in  the  eyes  by 
dabbing  the  points  of  the  fingers  or  rollers,  &c.,  on  the 
work,  and  occasionally  using  the  hair-pencil.  When  the 
whole  of  the  work  is  dry,  top  grain  with  a  thin  glaze  of 
raw  umber,  finely  ground  in  ale  :  when  dry,  varnish. 

To  Imitate  Curled  Maple. — Prepare  a  light  yellow 
for  the  ground,  by  mixing  chrome  yellow  and  white 
lead,  tinged  with  Venetian  red.  The  graining-color  is  a 
mixture  of  equal  portions  of  raw  terradasienna  and 
Vandyke,  ground   in   ale.     Spread   the  surface  to  be 


152  ARTIST    AND    TRADESMAN'S    COMPANION. 

grained  in  an  even  manner,  then  with  a  piece  of  cork 
rub  across  the  work  to  and  fro,  to  form  the  grains  which 
run  across  the  wood  ;  soften,  and  when  dry,  lightly  top 
grain  with  the  same  color :  when  dry,  varnish. 

Another  Maple. — The  ground  is  prepared  precisely  the 
same.  The  graining-colors  are  equal  quantities  of  raw 
and  burnt  terradasienna,  ground  in  water,  and  diluted 
with  ale.  Ifill  a  tool  with  the  color,  and  spread  the 
surface  even ;  then  take  a  long  piece  of  stout  buff 
leather,  cut  to  a  straight  edge,  and  by  holding  it  at  each 
end,  press  the  edge  hard  against  the  work,  draw  the 
leather  down,  and  it  will  leave  the  lights  and  shades ; 
or  use  a  patent  roller  to  take  out  the  lights,  which  is 
very  expeditious  in  its  operation  ;  when  softened,  top 
grain,  and  varnish  when  dry. 

Another. — Put  on  the  color  with  a  tool ;  then  with  a 
sponge  mottle  and  soften  ;  then  put  in  small  eyes  with 
your  roller  or  fingers  on  the  mottle  ;  then  put  on  the 
fine  top  grain  with  a  fine  pencil,  forming  the  heart  of 
the  wood,  and  shade  underneath  with  a  bit  of  buflf 
leather. 

Curled  Maple,  in  Oil,  for  Outside  Work. — Prepare  a 
rich  ground,  by  mixing  chrome  yellow,  white  lead,  and 
burnt  terradasienna.  For  the  graining-color,  grind 
equal  parts  of  raw  terradasienna  and  umber  with  a 
little  burnt  copperas  in  turpentine,  and  mix  with  it  a 
small  quantity  of  grainer's-cream.  Thin  the  color  with 
boiled  oil,  then  fill  a  tool  and  spread  the  surface  even, 
and  rub  out  the  lights  with  the  sharp  edge  of  a  piece  of 


ARTIST    AND    TRADESMAN'S    COMPANION.  153 

buff  leather,  which  must  now  and  then  be  wiped  to  keep 
it  clean ;  soften  the  edges  of  the  work  very  lightly,  and 
when  dry,  put  on  the  top  grain  with  burnt  umber  and 
raw  terradasienna,  ground  in  ale,  with  the  white  of  an 
egg  beat  into  it ;  when  dry,  varnish. 

Satinwood. — This  ground  is  prepared  with  white  lead, 
stone  ochre,  and  small  quantities  of  chrome  yellow  and 
burnt  terradasienna.  The  graining-color  is  one-third  of 
raw  terradasienna  and  whiting,  ground  in  pale  ale  very 
thin ;  then  spread  the  color  over  the  surface  to  be 
grained.  While  wet,  soften,  and  have  ready  a  wet 
roller  or  mottling-brush,  in  order  to  take  out  the  lights ; 
blend  the  whole  with  the  badger  hair-brush.  When  the 
work  is  dry,  take  the  flat-brush,  and,  with  the  same 
color,  put  on  the  top  grain  :  when  dry,  varnish. 

Another. — Prepare  the  ground  for  this  the  same.  The 
graining-colors  are  equal  quantities  of  raw  terradasienna 
and  raw  umber,  with  a  little  burnt  terradasienna,  and  a 
very  small  portion  of  whiting,  ground  in  ale  or  beer. 
Spread  the  color  even  over  the  surface  of  the  work,  and 
soften,  then  take  the  roller  which  has  the  feather  carved 
on  it.  Soften,  and  when  dry  top  grain  with  the  same 
color.     Varnish  as  before. 

Another. — The  ground  make  with  white  lead,  chrome 
yellow,  and  a  little  vermilion,  till  a  very  light  cream 
color  is  produced.  Well  cleanse  the  work  from  dust 
and  grease,  take  a  little  of  the  best  stone  yellow,  and  a 
very  small  portion  of  burnt  terradasienna  and  whiting, 

7* 


154  ARTIST    AND    TRADESMAN'S     COMPANION. 

ground  in  pale  ale,  and  cover  with  a  thin  coat  the  sur- 
face to  be  grained.  Take  a  piece  of  wetted  sponge  and 
dab  it  on  various  parts  of  the  work,  and  a  roller,  in 
order  to  take  out  the  lights.  As  soon  as  you  have  pro- 
duced as  much  dapple  as  required,  soften  the  whole  of 
the  work.  When  dry,  put  on  the  top  grain  with  a  thin 
glaze  of  the  same  color,  thinned  with  beer :  when  dry, 
varnish. 

To  Imitate  Yew  Tree. — The  ground  is  a  reddish  buff. 
For  the  graining-color,  grind  in  aJe  equal  portions  of 
Vandyke  brown  and  burnt  terradasienna,  with  a  small 
quantity  of  raw  terradasienna.  When  the  ground  is 
dry,  spread  the  surface  even  with  the  color,  and  soften ; 
then  with  a  piece  of  cork  with  a  sharp  edge,  rub  the 
work  cross  and  cross,  in  order  to  form  the  fine  grain  as 
in  curled  maple,  and  soften  the  same  way  of  the  grain. 
When  dry,  dip  the  tip  of  your  fingers  in  the  graining- 
color  to  form  the  eyes  or  knots,  and  put  in  the  small 
touches  with  the  camel-hair  pencil.  When  dry,  put  on 
the  top  grain,  and  when  this  is  dry,  varnish. 

To  Imitate  Hair-  Wood. — For  the  ground-color,  take 
white  lead  and  thin  it  with  turpentine,  and  slightly  stain 
it  with  equal  quantities  of  Prussian  blue  and  lamp- 
black. For  the  graining-color,  grind  in  ale  a  mixture  of 
Prussian  blue  and  raw  terradasienna  ;  when  the  ground 
is  dry,  spread  a  transparent  coat  of  the  graining-color 
on  the  surface  of  the  work,  and  soften  ;  then  with  the 
cork,  mottle  by  rubbing  it  to  and  fro  across  the  work  to 
form  the  fine,  long  grain  or  mottle.    When  this  is  done. 


ARTIST   AND    TRADESMAN'S    COMPANION.  155 

soften  and  top  grain  in  a  wavy  but  perpendicular  direc- 
tion :  varnish  when  dry. 

Hair-  Wood  for  Chairs. — Paint  the  chair  a  light  gray, 
by  adding  a  little  Prussian  blue  with  white  lead,  ground 
very  stiff  in  boiled  linseed  oil,  and  thinned  down  with 
turps  to  the  consistency  required.  When  this  is  dry, 
take  some  of  the  ground-color,  made  considerably  thinner 
with  turpentine,  and  with  a  common  paint-brush  put  a 
very  light  coat  on  a  small  part  of  the  work  at  once,  as 
the  grain  must  be  laid  on  before  the  last  coat  sets,  other- 
wise the  colors  will  not  blend  together  :  having  provided 
some  thicker  color,  made  darker  by  adding  more  Prus- 
sian blue,  take  a  feather,  or  short  gilder's-tip,  dip  it  into 
the  color,  and  put  on  the  fine,  long  vein  cross  ways, 
similar  to  the  grain  of  curled  maple.  When  the  work 
is  thus  far  finished,  take  a  small  fiat  graining-brush,  and 
put  on  the  top  grain  with  the  same  color  ;  when  the 
whole  of  the  work  is  ornamented  and  quite  dry,  it  may 
be  completed  with  two  coats  of  colorless  copal  varnish. 

N.  B. — If  a  green  color  is  desired,  substitute  mineral 
green  for  Prussian  blue,  both  for  the  ground  and  grain- 
ing-colors. 

To  Imitate  Oriental  Verd-antiqice  marble. — Mix  the 
ground  black  in  oil-paint,  and  made  quite  smooth.  For 
the  graining-color,  take  white  lead  in  oil,  and  made 
quite  fluid  in  spirits  of  turpentine.  This,  laid  on  with  a 
common  sash-tool,  in  broad,  transparent  reins,  so  thin 
in  places  that  the  white  is  scarcely  perceptible,  and  in 
other  places  nearly  opaque.     While  the  white  is  wet, 


156  ARTIST    AND    TRADESMAN  S    COMPANION. 

take  a  piece  of  wash-leather,  and  dab  it  on  in  different 
parts  of  the  work,  leaving  it  in  the  form  of  shells  or 
other  fossil  remains.     While  the  color  is  still  wet,  take 
a  square  piece  of  cork,  and,  notching  it  in  two  or  three 
places,  turn  it  round  on  the  work  between  the  thumb 
and  finger.     This  will    leave  the  circles  more  natural 
than   pencil :  when  this  is  done,  cut   away  part  of  a 
feather  at  unequal  distances,  pass  this  once  over  the 
white  to  take  out  irregular  veins  on  the  black  ground, 
and  by  suddenly  checking  the  hand,  make  it  take  an  an- 
gular direction.     When  the  work  is  sufficiently  veined, 
let  it  remain  till  it  gets  dry  before  more  can  be  done  to 
it ;  when  dry,  it   must    be  glazed  over   in  distemper 
colors,  in  some  places  with  raw  terradasienna,  in  others, 
Prussian  blue  ;  and  some  parts  must  be  left  black  and 
white.     When  the  work  is  dry,  take  a  feather  and  dip 
it  into  whiting  ground  fine  in  milk,  and  with  it  draw  the 
fine  veins  over  the  work  ;  a  few  fine  lines  with  a  camel- 
hair  pencil  may  also  be  made  to  curl  over  the  light 
parts  with  Prussian  blue.     When  dry,  it  will  be  ready 
for  the  last  glaze,  which  make  of  raw  terradasienna  and 
a  small  portion  of  Prussian  blue,  mixed  together  in 
equal  parts  of  boiled  oil  and  turpentine.     This  will  give 
the  whole  of  the  work  the  appearance  of  a  beautiful 
green  :  when  dry,  varnish. 

Observe  that  verdantique,  Egyptian,  and  Serpentine, 
are  the  three  principal  marble  greens,  and  most  varied 
in  their  colors  ;  but  those  with  all  other  greens  may  be 
produced  in  a  similar  manner  to  the  verdantique ;  but 
it  will  be  advisable  for  the  learner  to  procure  some 


ARTIST    AND    TRADESMAN'S    COMPANION.  157 

specimens  of  the  different  kinds  of  green  marbles  be- 
fore he  attempts  to  imitate  what  he  has  never  seen. 

To  Imitate  Black  and  Gold  Marble. — This  description 
of  marble  is  now  in  great  use.  The  ground  is  a  deep 
jet  black,  or  a  dead  color  in  gold  size,  drop  black  and 
turps ;  second  coat,  black  japan,  commence  veining ; 
mix  white  and  yellow  ochre  with  a  small  quantity  of 
vermilion  to  give  a  gold  tinge  :  dip  the  pencil  in  this 
color,  and  dab  on  the  ground  with  great  freedom  some 
large  patches,  from  which  small  threads  must  be  drawn 
in  various  directions.  In  the  deepest  parts  of  the  black 
a  white  vein  is  sometimes  seen  running  with  a  great 
number  of  small  threads  attached  to  it ;  but  care  must 
be  taken  that  these  threads  are  connected  with,  and  run 
in  some  degree  in  the  same  direction  with  the  thicker 
veins.  If  durability  is  not  an  object,  and  the  work  is 
required  in  a  short  time,  it  may  be  executed  very  quick 
in  distemper  colors,  and  when  varnished  it  will  look 
well. 

Dove  Marble. — The  ground  is  a  lead  color.  If  the 
work  is  new,  it  will  be  necessary  to  give  it  two  very 
thin  coats  of  ground-color,  which  must  be  made  to  dry 
hard,  taking  care  to  rub  it  smooth  with  fine  glass-paper 
after  each  coat,  and  not  to  rub  the  color  off  the  sharp 
edges  of  the  wood  :  it  must  now  remain  till  quite  hard. 
For  the  graining,  take  some  of  the  lead  color,  such  as 
used  for  the  ground,  and  make  it  quite  thin  with  tur- 
pentine, and  rub  a  light  coat  over  a  small  part  of  the 
Work,  with  some  dryers  in  to  give  a  drying  quality,  and 


158  ARTIST    AND    TRADESMAN'S    COMPANION. 

make  it  thin  with  spirits  of  turpentine ;  then  take  a 
small  graniting-machine,  with  a  whitish  color,  to  form 
the  small  specks  or  other  fossil  remains  :  proceed  in  the 
same  way  till  the  whole  surface  is  covered,  taking  the 
precaution  to  paint  but  a  small  part  of  the  ground  at 
once,  that  the  colors  may  have  sufficient  time  to  blend 
together  while  wet,  otherwise  the  work  will  appear 
harsh.  When  these  colors  are  set,  take  some  of  the 
thin  ground-color,  and,  with  a  fitch  or  small  sash-tool, 
put  in  the  faint,  broad  veins  ;  then  take  a  camel-hair 
pencil  and  put  in  a  multiplicity  of  very  fine  veins  over 
the  whole  surface  of  the  work,  crossing  each  other  in 
every  direction.  When  this  is  done,  make  the  color  a 
few  shades  lighter,  by  adding  white  lead,  and  with  a 
feather  dipped  in  the  color,  pass  over  the  broad  veins  in 
the  same  direction,  forming  streams  or  threads.  When 
this  is  done,  take  some  thin  white,  and,  with  a  camel- 
hair  pencil,  go  partly  over  the  same  vein  with  short, 
thick  touches  ;  then  wath  a  fine  stripping-pencil,  and 
with  the  same  color,  pass  over  the  work,  forming  very 
fine  lines,  crossing  each  other  in  an  angular  direction. 
When  the  work  is  hard,  rub  it  smooth  with  very  fine 
glass-paper,  and  finish  by  putting  on  a  coat  of  colorless 
varnish. 

Observe  that  the  first  layer  of  veins  must  be  ex- 
ceedingly faint,  so  much  so  that  they  are  scarcely  per- 
ceptible, as  the  lighter  shades  are  put  on,  the  former 
veins  will  appear  sunk  from  the  surface  of  the  work  to 
the  depth  of  several  inches,  which  will  give  an  admira- 


ARTIST    AND    TRADESMAN'S    COMPANION.  159 

ble   effect   for  chimney-pieces,  table-tops,  wash-stands, 
&c.,  where  the  work  is  exposed  to  close  inspection. 

Another. — The  ground  is  a  light  lead  color,  and  when 
perfectly  dry,  take  a  small  paint-brush  and  scumble  on 
irregular  broad  veins  of  white  and  black.  Soften  with 
a  dry  duster,  and  when  sufficiently  blended,  the  color 
must  form  light  and  dark  shades,  and  not  a  decided 
black  or  white.  This  style  of  graining  is  well  calcu- 
lated  for  large  columns,  halls,  aud  all  outside  work,  as 
it  has  a  strikingly  bold  and  heavy  appearance.  A  few 
veins  may  be  added  with  advantage. 

Another. — The  ground  the  same  as  the  last.  The 
graining-colors  are  lamp-black  and  a  little  Prussian  blue, 
ground  together  very  stiff  in  turps  and  a  little  white 
vitriol,  to  act  as  a  dryer,  and  thinned  with  boiled  oil. 
Mix  small  portions  of  these  colors  together  with  white 
lead,  making  the  mixture  a  very  little  lighter  than  the 
ground-color,  and  with  a  fitch  put  on  the  broad  veins ; 
then  fill  a  camel-hair  pencil  and  go  over  the  same  veins 
again  with  a  lighter  color  :  when  this  is  done,  go  partly 
over  the  same  vein  again  with  white,  slightly  tinged 
with  blue-black,  and  made  very  thin  with  turpentine ; 
a  few  white  veins  may  be  made  to  run  over  the  surface 
of  the  work  in  various  directions,  being  careful  not  to 
make  them  too  prominent. 

White-Veined  Marble. — This  ground  is  a  pure  white. 
For  the  graining-color,  white  lead  ground  stiff  in  raw 
oil,  and  made  very  thin  with  turpentine ;  then  with  a 
paint-brush  rub  a  light  coat  on  a  small  part  of  the  sur- 


160  ARTIST    AND    TRADESMAN'S    COMPANION. 

face ;  then  with  a  fitch  scumble  over  the  work  with 
broad,  fiimt  veuis  of  white,  heightened  with  a  little 
Prussian  blue  and  lamp-black,  and  with  a  camel-hair 
pencil  go  over  the  work  in  various  directions,  forming 
the  fine  angular  lines ;  then  with  a  little  darker  color 
go  over  the  broad  veins  rather  sparingly  :  when  this  is 
done,  make  the  color  still  darker,  and  with  a  fine  pencil 
or  feather  go  over  the  same  veins,  forming  very  small 
threads  intersecting  each  other  and  running  to  a  centre, 
and  then  suddenly  striking  out  again  in  all  directions. 
A  good  effect  may  be  given  by  passing  a  few  fine  dark 
veins  across  different  parts  of  the  work  in  an  opposite 
direction  to  the  veins  already  laid  on.  When  the  work 
is  dry,  use  colorless  varnish. 

Sienna  Marble. — The  ground  is  stone  yellow  or  raw 
sienna.  When  the  ground  is  dry,  mix  some  stone  yel- 
low with  white  lead,  have  ready  some  white  paint,  and 
with  these  two  colors,  used  separately,  put  in  some 
broad  transparent  shades  of  white  and  yellow,  and  while 
wet,  blend  them  together  with  a  soft  duster.  Take 
some  Venetian  red  and  a  little  Prussian  blue  mixed  with 
it,  and  with  a  hair-pencil  put  in  some  broad  veins  in  the 
same  direction  as  the  shades  run  ;  then  for  the  darker 
veins  take  a  mixture  of  Venetian  red,  lake,  and  Prus- 
sian blue,  and  with  a  feather  draw  them  over  the  first 
layer  of  veins  in  fine  threads,  running  to  a  centre,  and 
then  striking  out  again  in  fine  transparent  veins  in  dif- 
ferent directions.  When  this  is  done,  mix  Prussian  blue 
and  lake  together,  and  with  a  fine  pencil  put  in  the 


ARTIST    AND   TRADESMAN'S    COMPANION.  IGl 

darkest  and  finest  veins  over  those  previously  laid  on. 
Put  in  a  few  dark  touches  of  burnt  terradasienna  be- 
tween the  fine  veins,  which  are  formed  into  small  masses. 
If  the  first  shades  are  not  sufficiently  varied,  a  thin  and 
separate  glaze  of  burnt  and  raw  terradasienna  may  be 
applied  in  different  parts  of  the  work.  All  the  above 
graining-colors  should  be  ground  in  spirits  of  turpentine 
and  gold-size  sufficient  to  bind  them. 

Italian  Marble. — This  looks  bold,  and  is  well  adapted 
for  columns,  &c,,  and  is  easy  to  imitate.  The  ground, 
a  light  buff".  For  the  graining-colors,  prepare  a  rich, 
warm  buff,  made  in  the  following  manner :  Mix  stiff  in 
boiled  oil,  white  lead,  and  good  stone  ochre,  and  tinge 
with  vermilion ;  then  grind  some  burnt  terradasienna 
very  fine  in  boiled  oil,  and  put  it  into  another  pot :  mix 
some  pure  white  stiff  in  oil,  and  keep  this  separate. 
Thin  these  colors  with  turpentine :  have  ready  a  brush 
for  the  buff,  and  another  for  the  terradasienna.  Proceed 
to  work  as  follows  :  Take  the  brush  intended  for  the 
buff  moderately  full  of  color,  and  dab  it  on  freely  and 
carefully  in  different  patches,  some  of  them  larger  than 
others,  and  varying  them  as  much  as  possible. 

When  -  these  are  laid  on,  take  the  other  brush  and  fill 
in  with  the  terradasienna  the  spaces  between  ;  as  soon 
as  this  is  done,  take  a  dry  duster  or  softener,  and  blend 
the  edges  together,  making  it  appear  as  soft  as  possible. 
Proceed  in  this  manner  till  the  whole  is  finished ;  then 
take  a  hair-pencil  and  draw  a  few  thin  white  veins  over 
the  work,  varying  them  &s  much  as  necessary ;    take 


162  ARTIST    AND    TRADESMAN'S    COMPANION. 

another  pencil  for  the  terradasienna,  and  run  a  few  lines 
intermixing  with  the  whole.     Varnish  when  dry. 

Red  Marble. — For  the  ground,  put  on  a  white  tinged 
with  lake  or  vermilion  ;  then  apply  deep  rich  reds  in 
patches,  filling  up  the  intermediate  spaces  with  brown 
and  white  mixed  in  oil ;  then  blend  them  together :  if 
in  quick  drying  colors,  use  about  half  turps  and  gold- 
size.  When  dry,  varnish  ;  and  while  the  varnish  is  wet, 
put  in  a  multitude  of  fine  white  threads,  crossing  the 
whole  work  in  all  directions,  as  the  wet  varnish  brings 
the  pencil  to  a  fine  point. 

Jasper  Marble. — Put  on  a  white  ground  lightly  tinged 
with  blue ;  then  put  on  patches  of  rich  reds  or  rose 
pink,  leaving  spaces  of  the  white  ground ;  then  partly 
cover  those  spaces  with  various  browns  to  form  fossils, 
in  places  running  veins  ;  then  put  in  a  few  spots  of 
white  in  the  centre  of  some  of  the  red  patches,  and 
leaving  in  places  masses  nearly  all  white.  When  dry, 
use  the  clearest  varnish. 

Blue  and  Gold  Marble. — For  the  ground  put  on  a 
light  blue  ;  then  take  blue,  with  a  small  piece  of  white 
lead  and  some  dark  common  blue,  and  dab  on  the 
ground  in  patches,  leaving  portions  of  the  ground  to 
shine  between  ;  then  blend  the  edges  together  with  a 
duster  or  softener  ;  afterwards  draw  on  some  white  veins 
in  every  direction,  leaving  large  open  spaces  to  be  filled 
up  with  a  pale  yellow  or  gold-paint ;  finish  with  some 
fine  white  running  threads,  a  coat  of  varnish  at  last. 


ARTIST    AND   TRADESMAN'S    COMPANION.  163 

Imitation  of  Marbles  in  Distemper  ;  White  -  Veined 
Marble. — This  kind  of  marble  has  a  splendid  appearance 
on  the  walls  of  staircases,  halls,  bars  of  taverns,  coffee- 
rooms,  &c.,  and  can  be  executed  with  great  expedition. 
If  the  walls  are  broken  and  scaly,  they  must  be  well 
scraped  and  dusted,  and  two  thin-  coats  of  lime  white- 
wash applied.  The  second  coat  must  be  whiting  mixed 
in  milk,  and  at  the  same  time  have  a  little  indigo,  lamp- 
black, and  Venetian  red,  ground  separately  in  milk, 
which  is  sufficiently  glutinous  to  bind  the  colors  ;  have 
them  all  ready  for  use  by  putting  each  color  into  a 
separate  bowl.  A  few  long  striping  hair-pencils  will  be 
necessary,  with  long  handles  to  them,  in  order  to  give 
more  spirit  and  freedom  to  the  work.  When  all  the 
colors  and  tools  are  procured,  commence  by  dividing 
the  work  into  squares,  about  twenty  inches  by  fourteen, 
to  represent  blocks  of  marble  :  this  may  be  done  by  a 
long  straight-edge  and  a  black-lead  pencil ;  the  lines 
must  be  stout,  in  order  to  be  seen  through  the  last  coat 
of  whitewash.  When  the  work  is  thus  divided,  com- 
mence at  the  top  of  the  wall  by  putting  on  a  very  thin 
coat  of  whitewash,  working  downwards,  taking  the  pre- 
caution to  wet  not  more  than  one  or  two  squares,  as  the 
whole  of  the  work  commenced  upon  must  be  blended 
with  the  dry  duster,  and  finished  before  it  gets  dry. 
Immediately  have  ready  in  the  bowl  some  whitewash 
slightly  tinged  with  lamp-black  and  Venetian  red,  and 
with  a  large  brush  put  in  the  broad  faint  vein,  and  blend 
it  together  with  the  brush  used  for  the  whitewash  ;  then 
with  a  feather,  or  the  flat  graiuing-brush,  containing  a 


164  ARTIST  AND    TRADESMAN'S    COMPANION. 

very  thin  row  of  hairs,  draw  the  narrow  veins  in  the 
same  direction  with  the  broad  vein  :  take  a  large  hair- 
pencil  and  put  in  some  thick  touches  between  the  veins 
just  laid  on  ;  immediately  take  some  blue  tinged  with 
Venetian  red,  and  made  quite  thin  with  milk,  and  with 
a  fine  camel-hair  pencil  put  in  a  multiplicity  of  very 
fine  veins,  to  represent,  as  it  were,  small  streams  of 
water  running  to  a  centre,  and  suddenly  striking  out  in 
vai'ious  directions,  but  always  inclining  the  same  way 
the  broader  veins  run.  When  this  is  done,  take  a  fine 
hair-pencil  and  put  in  a  few  fine  white  veins  over  the 
darkest  shades.  Have  all  the  colors  and  tools  in  readi- 
ness before  commencing  work  of  this  description,  as  it 
requires  to  be  done  with  expedition.  If  the  edges  ot 
the  work  should  get  too  dry,  they  must  be  damped  with 
milk,  and  so  proceed  till  the  wall  is  finished.  The  next 
thing  to  be  done,  is  to  draw  the  fine  black  lines  with 
lamp-black,  finely  ground  in  size,  in  order  to  represent 
the  small  blocks,  which  may  be  easily  executed  with  y. 
pencil,  such  as  is  generally  used  for  drawing  the  joints 
of  brick-work,  and  with  a  beveled  straight-edge.  It 
should  be  observed,  that  the  vein  in  each  block  should 
be  made  to  run  in  a  different  direction,  in  order  to  dis- 
tinguish one  from  another,  and  give  the  work  a  more 
natural  appearance. 

Italian  Marble. — This  kind  of  marble  may  be  worked 
on  walls.  If  a  new  wall,  give  it  a  coat  of  size  worked 
in  a  jelly,  in  order  to  stop  the  suction  of  the  wall.  Mix 
a  sufficient  quantity  of  Indian  red  with  strong  beer,  and 


ARTIST    AND    TRADESMAN'S    COMPANION.  165 

put  it  into  an  earthen  bowl ;  mix  in  beer  whiting  and 
French  yellow,  and  tinge  with  English  Venetian  red  till 
you  produce  a  good  buflF.  This  you  may  know  by  try- 
ing it  on  a  piece  of  paper  and  drying  it  by  the  fire,  as 
it  dries  much  lighter  than  it  is  while  wet ;  then  mix 
whiting  with  milk,  as  the  beer  would  be  apt  to  discolor 
it,  or  you  may  mix  with  size,  and  apply  it  warm.  These 
colors  must  be  mixed  to  the  consistency  of  cream. 
Having  the  colors  and  brushes  in  readiness,  proceed  in 
the  same  manner  as  with  oil  colors,  only  instead  of 
putting  so  many  patches  on  the  wall  at  once,  you  should 
dab  on  only  eight  or  ten,  and  those  very  quick  and 
freely  ;  then  fill  up  the  spaces  with  the  red,  and  blend 
the  edges  directly  before  the  color  sets,  as  it  will  be 
impossible  to  do  anything  with  it  after  it  dries.  Pro- 
ceed in  the  same  manner  till  the  whole  of  the  wall  is 
finished  ;  put  in  the  veins  with  distemper  colors,  as  di- 
rected iu  oil  colors. 

Verd-antigue. — This  is  an  easy,  and  also  a  very  ex- 
cellent method  of  imitating  this  species  of  marble,  and 
will  be  found  very  useful  to  the  cabinet-maker,  as  it  is 
well  adapted  for  the  tops  of  tables,  side-boards,  wash- 
stands,  &c.  It  may  be  produced  with  good  effect  by 
any  person,  although  'he  may  not  be  accustomed  to  the 
art  of  painting.  If  the  work  is  new,  it  may  have  one 
coat  of  dark  lead  color  in  oil  paint,  and  when  dry,  it 
should  be  made  smooth  with  fine  glass-paper.  Grind 
separately  some  white  lead  powder  and  lamp-black  very 
fine  in  water  and  mixed  with  size.     The  black  must  be 


166  ARTIST    AND    TRADESMAN'S    COMPANION. 

put  on  the  work  with  a  large  sash-tool,  leaving  varioua 
narrow  spaces  in  different  parts  of  the  work.  When 
this  is  dry,  the  white  lead  must  then  be  poured  in  thin 
streams  on  the  black,  and  the  table  or  wash-stand  to  be 
marbled  is  moved  in  various  directions,  taking  the  pre 
caution  to  let  the  white  fill  up  the  small  spaces  which 
are  left  by  the  black.  The  floating  must  be  repeated 
till  the  whole  veins  are  sufficiently  varied,  and  the  small 
threads  may  be  drawn  from  the  wet  masses  of  white 
over  the  dark  parts  by  means  of  a  feather.  When  the 
whole  of  the  work  is  dry,  the  shells  or  fossil  figures  are 
dabbed  carelessly  on  with  a  camel-hair  pencil.  When 
these  colors  are  dry,  have  ready  some  raw  terradasienna 
and  Prussian  blue,  which  has  been  finely  ground  in  ale, 
and,  with  these  colors  used  separately,  put  a  thin  glaze 
of  each  color  on  various  parts  of  the  work  ;  allow  this 
to  dry  also  ;  then  apply  the  green  glaze,  which  is  com- 
posed of  raw  terradasienna  and  Prussian  blue,  ground 
in  spirits  of  turpentine,  and  mixed  with  copal  varnish. 
When  the  work  is  varnished  and  polished,  it  will  look 
well. 

Another. — The  ground  is  black,  in  oil  paints,  which 
well  prepare  and  lay  perfectly  smooth  on  the  surface  of 
the  work  to  be  painted.  It  is  necessary  to  give  the 
work  two  thin  coats,  especially  on  mantle-pieces,  fluted 
columns,  pilasters,  &;c.,  in  order  that  the  sharp  edges  of 
the  wood  may  be  completely  covered  ;  and  further  ob- 
serve, that  in  imitation  of  all  fancy  woods  and  marbles, 
particular  care  should  be  taken  in  laying  on  the  ground- 


ARTIST    AND    TRADESMAN'S    COMPANION.  167 

colors  that  the  marks  of  the  brush  may  not  be  visible ; 
it  will  be  better  in  all  cases  to  give  the  surface  to  bo 
grained  two  thin  coats  of  ground-color.     Take  lamp- 
black and   put  it  into  an  iron  kettle,  place  it  over  the 
fire  till  it  gets  red-hot,  then  take  it  from  the  fire  and 
extinguish  it  on  the  slab.     It  must  be  stiffly  ground  in 
boiled  oil,  and  thinned  for  use  with  spirits  of  turpen- 
tine :   it  will    be  necessary  to  add   some  burnt  white 
vitriol,  and   a  small  quantity  of  litharge.     When   the 
ground  is  dry,  commence  graining  by  laying  on  white 
lead  powder  finely  ground  in  water,  and  mixed  with  a 
small  quantity  of  size,  in  order  to  bind  and  prevent  its 
absorbing  the  varnish.     The  work  must  not  be  entirely 
covered  with  the  white,  but  must  be  laid  on  in  large 
streaks   with   a  sash-tool,   having   previously  prepared 
some  lamp-black   finely  ground  in   size,  with    another 
sash-tool  fill  up  the  spaces  which  are  left  by  the  white, 
thereby  covering  the  whole  surface  of  the  work  ;   then 
with  the  badger-hair  brush  soften  the  whole  of  the  work 
together  while  it  is  still  wet,  in  order  to  make  the  veins 
run  imperceptibly  into  each  other.      The  whole  of  the 
work  should  be  covered  in  this  way  at  once  ;  then  take 
a  large  hair-pencU  and  dip  it  into  the  white,  and  on  the 
darkest  parts  of  the  work  dab  the  white  carelessly,  in 
spots  of  various  sizes  and  forms,  in  order  to  represent 
the  shells,  &;c.     Take   another  pencil,  dip  it  into   the 
black,  and  go  over  the  lightest  parts  of  the  work  in  the 
same  manner.      The   flat    graining-brush,  containing  a 
very  thin  row  of  hairs,  may  then  be  dipped  into  the 
white  and  drawn  over  the  black,  in  order  to  form  the 


168  ARTIST    AND    TRADESMAN'S   COMPANION. 

small  irregular  veins.  A  dark  blue  vein  may  be  made 
to  run  across  the  work  ;  this  should  be  put  on  in  a 
wavy,  zig-zag  direction.  When  the  work  is  perfectly 
dry,  in  order  to  give  it  the  green  shade,  it  must  have  a 
thin  glaze  of  Prussian  blue  and  raw  terradasienna,  the 
latter  preponderating.  The  colors  may  be  ground  in 
spirits  of  turpentine,  and  mixed  in  copal  varnish.  When 
this  is  dry,  the  work  may  be  finished  by  giving  it  ano- 
ther coat  of  varnish. 

Marble  to  resemble  Jasper. — The  ground  is  mixed  the 
same  as  for  mahogany,  with  Venetian  red,  red  lead,  and 
a  little  chrome  yellow,  ground  and  thinned  with  equal 
parts  of  oil  and  turpentine  :  to  increase  the  brilliancy 
of  the  color  substitute  vermilion  or  lake  for  the  Vene- 
tian red  ;  then  throw  on  spots  of  white  paint  with  a 
graining-machine  while  the  ground  is  wet ;  blend  them 
in  with  a  softener  or  duster,  and  apply  a  little  more 
white  in  the  same  manner.  Blue,  browai,  or  yellow, 
may  be  thrown  in  the  same  way,  and  blended  alto- 
gether. When  nearly  dry,  take  a  hair-pencil  and  form 
the  large  and  small  veins  and  threads  :  this  latter  part 
may  be  omitted  or  not,  according  to  the  taste  of  the 
workman. 

N.  B. — The  above  may  be  executed  on  a  white  ground 
and  distemper  colors  applied  with  sash-tools  and  pen 
,cils,  then  varnished. 


^j 


To  Imitate  Porphry  Marble. — The  ground  is  purple, 
brown,  and  rose  pink.  The  graining-colors  for  this 
specimen   are  vermilion  and  white  lead,  ground  sepa- 


AKTIST    AXD    TKADESMAk's    COMPAKIOK.  169 

rately  in  turpentine,  and  a  little  gold-size  added  to  each 
color  to  bind  them  ;  but,  as  they  cannot  be  ground  suffi- 
ciently thin  for  use,  more  turpentine  must  be  added  to 
each  color  before  it  is  applied.  When  the  ground  is 
quite  dry,  fill  a  large  brush  with  vermilion,  discharge 
nearly  all  the  color  by  scraping  the  brush  on  the  edge 
of  a  palette-knife,  then  holding  a  rod  of  iron  in  the  left 
hand,  strike  the  handle  of  the  brush  against  it,  letting 
the  small  red  spots  fall  on  the  work  tUl  the  surface  is 
covered,  or,  what  is  much  preferable  to  it,  a  patent 
graniting-machine,  which  wUl  do  the  spotting  much 
cleaner  for  all  spotting  purposes.  Make  the  color  a 
lighter  shade  by  adding  an  equal  quantity  of  white  lead, 
and  use  it  as  before.  Then  with  the  clear,  thin  white, 
throw  on  the  color  the  last  time  in  very  fine  spots,  and 
when  dry,  put  in  a  few  white  veins  across  the  work. 
When  it  gets  quite  hard,  give  it  two  coats  of  varnish. 
This  kind  of  marble  may  be  successfnlly  imitated  in 
distemper,  which  is  preferable  for  inside  work.  The 
process  is  precisely  the  same  as  in  oil ;  and  as  a  sub- 
stitute for  gold-size  and  turpentine,  take  the  white  of  a 
few  eggs  and  beat  them  up  in  ale.  By  this  method  the 
work  is  executed  with  greater  expedition,  as  it  may  be 
varnished  at  once.  It  is  necessary,  in  the  imitation  of 
this  marble,  to  procure  some  sheets  of  paper  to  place 
at  the  extent  of  the  surface  to  be  grained,  in  order  to 
receive  the  superfluous  spots. 

Another. — This  ground  is  red,  and  prepared  with  Ve- 
netian red,  heightened  with  a  little  vermilion  and  white. 

8 


170  ARTIST    AND    TRADESMAN'S    COMPANION. 

For  the  graining-color,  add  a  little  more  white  to  the 
ground-color,  and  sprinkle  the  first  layer  on  the  same 
manner  as  in  the  last.  When  this  coat  is  dry,  the 
sprinkling  may  be  repeated  very  sparingly,  and  in  some 
parts  more  than  others,  with  a  mixture  of  Venetian  red 
and  vermilion.  Sprinkle  the  last  time  with  white  in 
very  fine  spots.  You  may  put  an  opaque  white  vein 
across  the  work  running  among  the  spots,  from  which 
transparent  threads  must  be  drawn  in  various  direo 
tions  ;  but  this  cannot  be  done  till  the  whole  of  the 
work  is  quite  dry  and  hard,  when  it  may  be  performed 
with  a  sable  pencil,  and  the  threads  drawn  out  with  a 
feather.  The  work  may  then  be  varnished,  and  if  due 
care  be  taken  in  sprinkling,  the  imitation  will  be  excel- 
lent. Observe,  that  in  the  application  of  each  color,  a 
different  circular-brush  in  the  tin  case,  2s.  6d.  each,  will 
be  required. 

To  Imitate  Granite. — For  the  ground-color,  stain  your 
white  lead  to  a  light  lead  color,  with  lamp-black  and  a 
little  rose  pink.  Throw  on  black  spots,  with  a  graniting- 
machine,  a  pale  red,  and  fill  up  with  white  a  little  be- 
fore the  ground  is  dry. 

Another. — A  black  ground  :  when  half  dry,  throw  iu 

vermilion,  a  deep  yellow  and  white  spots. 

Another. — Oak,  mahogany,  and  green  grounds,  look 
well  with  the  same  spots  as  used  on  other  grounds. 

To  Polish  Woods  and  Marbles. — Two  and  a  half 
ounces  of  spirits  of  wine,  one  draciiin  of  gum  elemi. 


ARTIST   AND    TRADESMAN'S    COMPANION.  171 

half  an  ounce  of  orange  shellac.     Pound  the  gums,  and 
mix  with  the  other  ingredients. 

To  Imitate  Black  and  Oold  Marble^  for  table-tops,  side- 
boards, Sc. — The  finest  specimens  of  this  marble  are 
produced  by  spreading  a  leaf  or  two  of  gold  in  any  part 
of  the  work  where  the  gold  veins  are  intended  to  run, 
and  silver-leaf  where  the  white  vein  is  to  be  displayed. 
The  black  ground  may  then  be  painted  rather  thickly 
over  the  whole  surface,  covering  the  gold  and  silver 
leaves  ;  and  after  the  color  has  been  on  a  short  time, 
take  a  round-pointed  bodkin,  and  draw  the  color  in 
small  reticulate  veins  from  off  the  gold  and  silver-leaf; 
the  metal  will  then  show  in  fine  lines.  The  larger 
masses  may  then  be  wiped  off  with  leather.  When  the 
block  is  dry,  the  yellow  and  white  veins  may  be  painted 
as  before  directed,  and  drawn  over  the  gold  and  silver- 
leaf,  which  will  by  this  means  show  through  them ;  and 
when  the  work  is  properly  varnished  and  polished,  it 
will  give  the  appearance  of  nature.  The  colors  may 
be  ground  in  milk  or  strong  beer,  with  the  addition  of  a 
little  size  in  the  black. 

To  Imitate  Tortoise  Shell. — This  beautiful  color  can 
be  made  in  the  following  manner  :  Take  of  clear  lin- 
seed oil  twenty-four  ounces ;  of  Venice  turpentine,  or 
shellac,  one  ounce  and  a  half;  copal,  of  an  amber  color, 
six  ounces  ;  essence  of  turpentine,  six  ounces.  The  co- 
pal is  to  be  placed  in  a  matrass,  and  exposed  to  a  mo- 
derate heat  until  it  is  liquefied  ;  the  linseed  oil  is  then 
to  be  added  in  a  boiling  condition  ;   then  the  Venice 


172  ARTIST    AND    TRADESMAN'S    COMPANION. 

turpentine,  or  shellac,  liquefied  also ;  finally,  in  small 
portions,  the  spirits  of  turpentine.  To  be  applied  in  the 
ordinary  way. 

Varnish  for  applying  on  Glass. — Take  a  quantity  of 
powdered  gum  tragacanth,  and  dissolve  it  for  thirty 
hours  in  the  white  of  eggs,  which  should  be  well  beat 
up ;  it  is  then  gently  to  be  rubbed  on  the  glass  with  an 
ordinary  brush. 

Water  Proof  Polish. — This  valuable  article  is  made 
by  putting  one-fourth  of  an  ounce  of  gum  sandarac,  one- 
fourth  of  an  ounce  of  gum  anime,  and  two  ounces  of 
gum  benjamin,  into  a  pint  of  spirits  of  wine,  in  a  bottle 
tightly  stopped.  The  bottle  is  to  be  placed  either  in  a 
sand-bath  or  in  hot  water,  till  the  gums  are  dissolved  ; 
the  mixture  must  then  be  strained  off";  then  shake  it  up 
with  a  quarter  of  a  gill  of  the  best  clear  poppy  oil,  and 
set  it  aside  till  needed. 

To  heighten  the  color  of  Gold  or  Brass. — If  you  wish 
to  operate  on  yellow  gold,  dissolve  in  water  one  ounce 
of  alum,  six  ounces  of  salt  petre,  two  ounces  of  cop- 
peras, one  ounce  of  white  vitriol.  If  for  red  gold,  take 
four  ounces  of  melted  yellow  wax,  two  ounces  and  a 
half  of  red  ochre  in  fine  powder,  one  ounce  and  a  half 
of  calcined  verdigris,  half  an  ounce  of  calcined  borax. 
Dissolve  in  water ;  apply  with  a  soft  cloth,  and  rub  for 
a  few  minutes,  and  the  surface  will  be  very  bright. 

To  dissolve  Gold. — Take  any  given  quantity  platina  or 
gold,  dissolve  it  in  nitro-muriatic  acid,  until  no  further 


\ 


ARTIST    AND    TRADESMAN'S    COMPANION.  173 

effervescence  will  take  place  when  heat  is  applied.  The 
solution  of  gold  or  platina  thus  formed,  must  be  eva 
porated  to  dryness  by  a  gentle  heat ;  by  this  means  it 
will  be  freed  from  any  excess  of  acid,  which  is  quite 
requisite ;  then  re-dissolve  the  dry  mass  in  as  little 
water  as  possible ;  next  take  an  instrument,  which  is 
used  by  chemists  for  dropping  liquid,  known  by  the 
name  of  separating-funnel,  having  a  pear-shaped  body, 
tapering  to  a  fine  sharp  point,  and  a  neck  capable  of 
being  stopped  with  the  finger  or  a  cork,  which  may  con- 
tain a  liquid  ounce  or  more ;  this  must  be  filled  about 
one-fourth  full  with  the  liquid,  and  the  other  three  parts 
must  be  with  the  best  sulphuric  ether.  If  this  be  pro- 
perly managed,  the  liquids  will  not  mix.  Then  place 
the  tube  in  a  horizontal  position,  and  gently  turn  it 
round  with  the  finger  and  thumb.  The  ether  will  very 
soon  be  impregnated  with  the  gold  or  platina,  which 
may  be  known  by  its  changing  its  color ;  replace  it  in  a 
perpendicular  position,  and  let  it  stand  at  rest  for  twen- 
ty-four hours,  having  first  stopped  up  the  upper  orifice 
with  a  cork. 

The  liquid  will  then  be  divided  into  two  parts — the 
darkest  coloring  being  underneath.  To  separate  them, 
take  out  the  cork  and  let  the  dark  liquid  flow  out ;  whea 
it  has  disappeared,  stop  the  tube  immediately  with  the 
cork,  and  what  remains  in  the  tube  is  fit  for  use,  and 
may  be  called  gilding-liquid.  It  should  be  put  up  in  a 
bottle  and  corked  tightly.  The  muriate  of  gold  or  pla- 
tina, formed  by  digesting  these  metals  in  nitro-muriatic 
acid,  must  be  entirely  free  from  any  excess  of  acid  ;  for 


174  ARTIST    AND    TRADESMAN'S    COMPANION. 

otherwise  it  will  act  too  forcibly  on  the  steel,  and  cause 
the  coating  of  gold  to  peel  off. 

Pure  gold  must  be  employed.  The  ether  must  not 
be  shaken  with  the  muriate  of  gold,  as  advised  in  works 
of  chemistry,  for  it  will  be  sure  then  to  contain  acid ; 
but  if  the  two  liquids  be  brought  continually  into  con- 
tact by  the  motion  described,  the  affinity  between  ether 
and  gold  is  so  strong  as  to  overcome  the  obstacle  of 
gravity,  and  it  will  hold  the  gold  in  solution.  By  gentle 
evaporation  this  etherial  solution  may  be  concentrated. 
The   manner  of  using   this   solution  of  gold   is   well 


INSTRUCTIONS  FOR  GILDING  THE  EDGES 
OF  PAPER. 

When  you  wish  to  gild  the  leaves  of  books,  or  fine 
letter  paper,  you  must  lay  them  in  a  horizontal  position, 
and  apply  to  the  parts  you  wish  to  gild  a  composition 
made  of  two  parts  of  candied  sugar,  and  eight  of  Ar- 
menian bole,  which  are  ground  together  to  the  proper 
consistence  with  water,  and  laid  on  by  a  brush  with 
the  white  of  an  egg. 

When  nearly  dry,  this  coating  is  to  be  smoothed  by 
the  aid  of  a  burnisher.  Then  moisten  the  part  with  a 
sponge  dipped  in  water  and  squeezed  in  the  hand.  After 
this  the  gold  leaf  must  be  taken  up  on  a  piece  of  cotton, 
and  applied  to  the  surface  which  has  been  moistened. 


AKTIST    AND    TRADESMAN'S    COMPANION.  175 

It  is  to  be  burnished  by  rubbing  the  burnisher  over  it 
several  times  from  end  to  end.  You  must  be  careful 
not  to  wound  the  surface  by  the  point.  The  burnishing 
must  not  take  place  until  the  part  is  dry. 

General  observations  on  the  art  of  Gilding. — Instructions 
for  executing  it,  <£:c.,  <&c. 

The  gilding  of  leather  is  a  beautiful  process,  and 
makes  an  excellent  appearance  if  well  executed.  It  is 
necessary  that  the  leather  should  be  first  dusted  over 
with  very  fine  gum  mastic  or  yellow  resin.  Then  the 
stamps,  or  iron  tools,  are  arranged  on  a  rack  before  a 
clear  fire,  so  as  to  be  well  heated,  without  becoming 
red-hot.  If  the  tools  are  letters,  they  have  an  alpha- 
betical arrangement  on  the  rack.  Each  letter  or  stamp 
must  be  tried  by  imprinting  its  mark  on  the  raw  side 
of  a  piece  of  waste  leather.  By  a  little  practice  the 
workman  will  be  able  to  judge  of  the  heat.  It  is  re- 
quisite that  the  tool  should  now  be  pressed  downward 
on  the  gold-leaf,  which  will  of  course  be  indented  and 
show  the  figure  imprinted  on  it.  Now  the  next  stamp 
or  letter  is  to  be  taken  and  stamped  in  like  manner, 
and  so  on  with  the  others,  and  taking  care  to  keep  the 
letters  in  an  even  line  with  each  other,  the  same  as 
those  in  a  book. 

The  resin  is  melted  by  this  operation,  so  the  gold  ad- 
heres to  the  leather.  You  can  then  wipe  off"  the  superfluous 
gold  with  a  cloth,  the  gilded  impressions  remaining  on 
the  leather   pretty  permanently.      You   must   slightly 


176  ARTIST    AND    TRADESMAN'S    COMPANION. 

grease  the  cloth  spoken  of,  to  retain  the  gold  wiped  off, 
for  if  you  do  not,  there  may  be  quite  a  loss  ;  the  cloth 
thus  will  be  completely  saturated  or  loaded  with  gold. 
When  this  is  the  case,  these  cloths  are  generally  sold  to 
the  refiner's,  who  burn  them  and  recover  the  gold. 

As  regards  the  gilding  of  writings,  drawings,  and 
other  things,  on  parchment  or  paper,  but  little  need  be 
said  to  enable  the  artist  to  execute  them  in  good  style. 
There  are  three  ways  of  gilding  them  :  one  way  is  to 
mix  a  little  size  with  the  ink,  and  the  letters  are  written 
as  usual ;  when  they  are  dry,  a  slight  degree  of  sticki- 
ness is  produced  by  breathing  on  them,  upon  which  the 
gold-leaf  is  immediately  applied,  and  by  a  little  press- 
ure may  be  made  to  adhere  with  sufficient  firmness. 
Another  method  is  to  grind  up  some  chalk  or. lead  with 
strong  size,  and  the  letters  are  made  with  this  by  means 
of  a  brush.  When  the  mixture  is  nearly  dry,  the  gold- 
leaf  may  be  laid  on,  and  burnished  afterwards.  The 
best  method  is  to  mix  some  size  with  gold-powder,  and 
form  the  letters  of  this  with  the  brush  used  for  such 
purposes. 

In  gilding  steel,  it  is  requisite  that  you  pour  some  of 
the  etherial  solution  of  gold  into  a  wine-glass,  and  dip 
into  it  the  blade  of  a  new  knife,  lancet,  or  razor ;  with- 
draw the  instrument,  and  allow  the  ether  to  evaporate, 
the  blade  will  then  be  found  covered  with  a  beautiful 
coat  of  gold.  The  blade  may  be  moistened  with  a 
clean  rag,  or  a  small  piece  of  dry  sponge  dipped  into 
the  ether,  and  the  same  effect  will  be  produced.  Figures 
of  birds,  females,  trees,  and  various  other  things,  may 


ARTIST    AND    TRADESMAN'S    COMPANION.  1T7 

be  put  on  the  blade  by  first  covering  it  with  melted 
wax,  letting  it  cool,  and  cutting  the  figures  in  the  wax 
desired.  The  blade  is  then  put  into  the  solution  of  gold 
as  before  described. 

If  you  desire  to  gild  wood  in  oil,  you  must  first  cover 
or  prime  the  wood  with  two  or  three  good  coatings  of 
boiled  linseed  oil  and  carbonate  of  lead  ;  and  when  dry, 
a  thin  coating  of  gold  oil-size  laid  upon  it.  In  twelve 
or  fourteen  hours,  this  sizing,  if  good,  will  be  dry  ;  then 
the  gold-leaf  may  begin  to  be  applied,  dividing  it  and 
laying  it  on  in  the  same  way  as  in  the  case  of  water- 
gilding,  with  the  difference  that  it  is  to  be  gently  pressed 
down  with  a  ball  of  soft  cotton,  when  it  will  imme- 
diately adhere  so  firmly  to  the  size,  that  after  a  few 
minutes  the  gentle  application  of  a  large  camel's-hair 
brush  will  sweep  away  all  the  loose  particles  of  the 
leaf  without  disturbing  the  rest.  The  advantages  of 
this  oil-gilding  are,  that  it  is  quickly  and  easily  done,  it 
is  durable,  not  easily  injured  by  vicissitudes  of  weather, 
though  exposed  to  the  open  air,  and  when  soiled  is 
readily  cleaned  by  a  little  warm  water  and  a  soft  brush. 
It  is  a  little  deficient  in  lustre,  as  it  cannot  be  bur- 
nished. 

Glass  and  porcelain  can  be  vastly  improved  in  beauty 
by  gilding  ;  to  do  which  dissolve  in  boiled  linseed  oil  an 
equal  quantity  either  of  copal  or  amber,  and  add  as 
much  oil  of  turpentine  as  will  enable  you  to  apply  the 
compound  or  size  thus  formed,  as  thin  as  possible,  to 
the  parts  of  the  glass  intended  to  be  gilt.  The  glass 
must  be  placed  in  a  stove  till  it  is  so  warm  as  almost  to 

8* 


178  ARTIST    AND    TRADESMAN'S    COMPANION. 

burn  the  fingers  when  handled.  At  this  temperature 
the  size  becomes  adhesive,  and  a  piece  of  leaf-gold,  ap- 
plied in  the  usual  way,  will  instantly  stick.  The  super- 
fluous portions  of  the  leaf  must  be  swept  off,  and  when 
quite  cold,  it  may  be  burnished,  always  taking  care  to 
interpose  a  piece  of  India  paper  between  the  gold  and 
the  burnisher. 

Sometimes  it  takes  place,  that  when  the  varnish  is 
not  very  good,  that  by  repeated  washing  the  gold  wears 
off;  on  this  account  the  practice  of  burnishing  it  is 
sometimes  resorted  to.  For  this  purpose,  some  gold 
powder  is  ground  with  borax,  and  in  this  state  applied 
to  the  clean  surface  of  the  glass  by  a  camel's-hair  pen- 
cil ;  when  quite  dry,  the  glass  is  put  into  a  stove,  heated 
to  about  the  temperature  of  an  annealing-oven  :  the 
gum  burns  off,  and  the  borax,  by  vitrifying,  cements  the 
gold  with  great  firmness  to  the  glass  ;  after  which  it 
may  be  burnished.  The  gilding  of  porcelain  is  in  like 
manner  fixed  by  heat  and  the  use  of  borax  ;  and  this 
kind  of  ware,  being  neither  transparent  nor  liable  to 
soften,  and  thus  to  be  injured  in  its  form  in  a  low  red 
heat,  is  free  from  the  risk  and  injury  which  the  finer  and 
more  fusible  kinds  of  glass  are  apt  to  sustain  from  such 
treatment.  Porcelain  and  other  wares  may  be  pla- 
tinized, silvered,  tinned,  or  bronzed,  in  a  similar  manner. 
To  gild  copper,  iron,  brass,  &c.,  you  have  to  use 
mercury,  with  which  the  gold  is  amalgamated.  The 
mercury  is  evaporated  while  the  gold  is  fixed,  by  the 
application  of  heat ;  the  whole  is  then  burnished  or  left 
matte,  in  whole  or  in  part,  according  as  required.     In 


ARTIST  AND    TRADESMAN'S    COMPANION.  179 

the  large  way  of  gilding,  the  furnaces  are  so  constructed 
that  the  volatilized  mercury  is  again  condensed  and  pre 
served  for  further  use,  so  that  there  is  no  loss  in  the 
operation.  There  is  also  a  contrivance  by  which  the 
volatile  particles  of  mercury  are  prevented  from  injuring 
the  gilders. 

There  is  a  considerable  difference  between  the  gilding 
of  wood  and  plaster,  or  marble  with  water-size.  The 
principal  difference,  however,  to  be  observed,  when 
plaster  or  marble  has  to  be  gilt  instead  of  wood,  is  to 
exclude  the  salt  from  the  composition  of  the  preparatory 
size,  as  in  damp  situations  this  would  produce  a  white 
efflorescence  upon  the  surface  of  the  gold.  Two  coats 
of  this  size  should  be  laid  on  ;  the  first  weak,  that  it 
may  sink  into  the  plaster  or  marble  perfectly ;  the  second 
must  be  strong,  for  obvious  reasons. 

When  gilding  carved  wood  with  water-size,  mix  with 
the  preparatory  size  a  sufficient  quantity  of  good  glue, 
(which  must  be  boiling-hot)  and  lay  it  upon  the  wood 
with  a  brush  which  has  short  bristles.  Then  apply  six 
to  ten  coats,  equal  in  quantity,  of  the  white  coating,  and 
be  careful  that  the  projecting  parts  are  well  covered,  as 
the  beauty  of  the  burnish  on  the  gold  depends  greatly 
on  this.  It  is  necessary  that  the  first  coat  should  be 
laid  on  quite  hot,  dabbing  it  with  the  brush  in  such  a 
manner  that  it  may  not  be  thicker  in  one  place  than 
another.  The  lower  parts  of  the  carving  must  be 
covered  by  dabbing  it  with  a  brush  somewhat  smaller. 
After  putting  on  one  coat  of  white,  and  previous  to  fol- 
lowing it  with  a  second,  it  is  necessary  the  work  should 


180  ARTIST    AND    TRADESMAN'S     COMPANION. 

be  examined,  and  if  lumps  are  found  in  it,  they  must 
be  reduced,  and  small  hollows  filled  up  by  a  cement 
made  of  whiting  and  glue  worked  together.  Let  the 
whole  be  now  rubbed  with  a  fish-skin,  which  will  re- 
move all  manner  of  roughness. 

The  second,  third,  and  remaining  coats  of  white  must 
have  the  size  stronger  than  the  first  coat,  but  all  of  the 
same  strength,  otherwise  a  strong,  superior  coat  will 
cause  a  weaker  one  under  it  to  scale  off:  the  operation 
of  dabbing  with  the  brush  must  be  repeated  in  every 
successive  coat,  so  as  to  unite  the  whole,  that  they  may 
form  a  single,  compact  body.  Each  coat  must  also  be 
perfectly  dry  before  a  new  one  is  laid  on.  The  whitened 
surface  is  now  to  be  wet  with  the  brush  which  has  been 
used  for  putting  on  the  whiting,  dipped  in  fresh  gold- 
water.  Only  a  small  portion  should  be  wetted  at  a 
time,  which  should  then  be  rubbed  down  with  pumice- 
stone,  made  flat  for  the  parts  which  require  to  be  of 
that  form,  and  round  and  hollow,  as  may  be  required 
for  the  mouldings.  Little  sticks  are  used  for  clearing 
out  those  members  of  the  mouldings  which  may  have 
been  filled  up  with  whiting.  The  whitened  parts  are  to 
be  rubbed  lightly,  so  as  to  make  the  surface  smooth  and 
even  to  the  touch.  At  the  same  time,  a  brush  which 
has  become  soft  by  using  it  with  the  whiting,  is  em- 
ployed to  clear  out  all  the  dust  or  dirt  which  has  been 
found  in  the  rubbing.  The  moisture  is  now  to  be  dried 
up  with  a  sponge,  and  any  small  grains  which  may  re- 
main, removed  by  the  finger,  a  delicate  and  important 
operation. 


ARTIST    AND    TRADESMAN'S    COMPANION.  181 

The  work  is  at  last  to  be  wiped  with  a  piece  of  clean 
linen.  Now  the  work  must  be  returned  to  the  carver, 
to  have  the  fine  and  delicate  cutting  of  the  sculptured 
parts  restored.  A  skilful  workman  will  be  able  to  re- 
produce on  the  whiting  every  characteristic  trait  which 
may  have  been  obliterated. 

Where  bas-reliefs  cast  from  moulds  are  laid  on  a  flat 
or  carved  surface,  instead  of  the  wood  itself  being 
carved,  as  is  very  common  at  the  present  day,  this  re- 
pairing process  will  not  be  required.  A  moistened 
cloth  is  now  to  be  passed  over  the  parts  that  are  to  be 
matted  or  burnished,  and  a  soft  moistened  brush  over 
those  which  have  been  repaired.  The  whole  is  then  to 
be  washed  with  a  soft  sponge,  and  every  speck  and  hair 
removed  carefully.  All  the  even  parts  should  next  be 
smoothed  with  rushes,  taking  care  not  to  rub  oflT  the 
whiting.  The  coloring  yellow  is  now  to  be  applied  very 
hot  with  a  soft  clean  brush,  so  as  to  cover  the  whole 
work.  This  application  must  be  lightly  made,  so  as 
not  to  disturb  the  whiting. 

The  yellow  tint  serves  to  cover  those  deep  recesses 
into  which  the  gold  cannot  be  made  to  enter  ;  it  serves 
also  as  a  mordant  for  the  gold-size.  When  this  yellow 
covering  becomes  dry,  the  whole  surface  is  to  be  again 
gently  rubbed  with  rushes,  to  remove  all  specks  or  hairs 
which  may  be  found  on  it,  and  to  give  a  uniform  surface 
without  the  slightest  inequality.  The  gold-size,  which 
is  the  next  thing  to  apply,  must  be  tempered  by  mixing 
it  with  some  parchment-size  that  has  been  passed 
through  a  fine  sieve.     It  is  to  be  laid  on  warm  with  a 

7* 


182  ARTIST    AKD    TRADESMAN'S    COMPANION. 

small  brush,  the  bristles  of  which  are  fine,  long,  and 
soft :  there  are  brushes  made  expressly  for  this  purpose. 
Three  coats  of  the  size  will  be  sufficient.  It  is  to  be 
applied  generally  to  the  work,  but  you  need  not  force 
it  into  the  deeper  parts.  When  the  three  coats  of  size 
are  quite  dry,  the  larger  and  smoother  parts,  which  are 
intended  to  appear  matted,  are  to  be  rubbed  with  a 
piece  of  new  dry  linen  ;  this  will  cause  the  gold  to  ex- 
tend itself  evenly,  and  the  water  to  flow  over  the  sized 
surface  without  forming  spots.  To  those  parts  which 
are  not  thus  rubbed,  but  which  are  intended  to  be  bur- 
nished, you  must  apply  two  additional  coats  of  the 
same  tempered  gold-size,  to  which  a  little  water  has 
been  added,  to  render  it  thinner. 

The  work  being  now  ready  for  gilding,  take  a  book 
of  gold-leaf,  place  the  leaves  upon  a  cushion,  cut  them 
to  the  required  size,  and  lay  them  on  the  work  by  means 
of  hair-pencils  of  different  sizes  ;  first  wetting  the  part, 
(and  only  that)  on  which  the  gold  is  to  be  applied  with 
fresh  and  cool  water.  The  deep  recesses  should  be  gilt 
before  the  more  prominent  ones.  When  the  leaf  is 
deposited  in  its  place,  water  is  applied,  to  make  it 
spread  easily,  by  means  of  a  pencil  behind  it,  but  so  as 
it  may  not  flow,  as  this  would  occasion  spots  ;  it  should' 
also  be  breathed  upon  gently,  and  any  waste  water  re- 
moved with  the  point  of  a  pencil.  Those  parts  of  the 
gilding  which  it  is  wished  to  preserve  of  a  matted  ap- 
pearance, should  have  a  slight  coat  of  parchment-size, 
which  will  prevent  the  gold  from  rubbing  oflT. 

The  size  should  be  warm,  but  not  hot,  and  its  strength 


ARTIST   AND    TRADESMAN'S    COMPANION.  183 

half  as  great  as  that  used  with  the  coloring  yellow. 
The  parts  to  which  it  is  intended  to  give  a  more  bril- 
liant appearance,  are  burnished  with  a  burnisher  made 
of  wolve's  or  dog's  teeth  or  agate,  mounted  in  iron  or 
wooden  handles,  which  must  be  kept  dry  throughout  the 
process.  The  operation  of  burnishing  is  very  simple. 
Take  hold  of  the  tool  near  to  the  tooth  or  stone,  and 
lean  very  hard  with  it  on  those  parts  which  are  to  be 
burnished,  causing  it  to  glide  by  a  backward  and  for- 
ward movement,  without  once  taking  it  off  the  piece. 

When  it  is  necessary  that  the  hand  should  pass  over 
a  large  surface  at  once,  without  losing  its  point  of  sup- 
port on  the  work-bench,  the  workman,  on  taking  hold 
of  the  burnisher,  should  place  it  just  underneath  his 
little  finger  ;  by  this  means  the  work  is  done  quicker, 
and  the  tool  is  more  solidly  fixed  in  the  hand.  It  will 
sometimes  happen  in  gilding  that  small  spots  on  the 
deeper  parts  are  overlooked,  or  that  the  gold  is  removed 
in  some  parts  in  applying  the  matting-size.  When  this 
is  the  case,  small  pieces  of  gold-leaf  are  to  be  put  on 
by  means  of  a  pencil,  after  moistening  the  deficient 
places  with  a  small  brush ;  when  dry,  each  of  these 
spots  should  be  covered  with  a  little  size.  When  it  is 
desired  to  give  the  work  the  appearance  or  *'  moulu,^'' 
dip  a  small  fine  pencil  into  the  vermilioning  composi- 
tion, and  apply  it  delicately  into  the  indentations,  and 
such  other  parts  where  it  will,  by  being  reflected,  give 
a  good  effect  to  the  gold.  To  bind  and  finish  the  woik 
well,  a  second  coat  of  the  matting-size  should  be  passed 
over  the  m.atted   parts,  and   hotter   than   the  first  by 


184  ARTIST    AND    TRADESMAN'S    COMPANION. 

several  degrees.  What  has  been  said  in  the  foregoing 
pages  on  gilding,  it  is  hoped  will  enable  all  to  compre- 
hend and  apply  it  in  practice. 


MISCELLANEOUS, 


A  beautiful  White  Paint — For  inside  work,  which 
ceases  to  smell,  and  dries  in  a  few  hours.  Add  one 
pound  of  frankincense  to  two  quarts  of  spirits  of  tur- 
pentine ;  dissolve  it  over  a  clear  fire,  strain  it,  and  bottle 
it  for  use  ;  then  add  one  pint  of  this  mixture  to  four 
pints  of  bleached  linseed  oil,  shake  them  well  together, 
grind  white  lead  in  spirits  of  turpentine,  and  strain  it ; 
then  add  sufficient  of  the  lead  to  make  it  proper  for 
painting ;  if  too  thick  in  using,  thin  with  turpentine,  it 
being  suitable  for  the  best  internal  work  on  account  of 
its  superiority  and  expense. 

If'or  a  pure  White  Faint. — Nut-oil  is  the  best ;  if  lin- 
seed oil  is  used,  add  one-third  of  turpentine. 

To  mix  common  White  Faint. — Mix  or  grind  white 
lead  in  linseed  oil  to  the  consistency  of  paste ;  add  tur- 
pentine in  the  proportion  of  one  quart  to  a  gallon  of 
oil ;  but  these  proportions  must  be  varied  according  to 
circumstances.  Remember  to  strain  your  color  for  the 
better  sorts  of  work.  If  the  work  is  exposed  to  the 
sun,  use  more  turpentine  for  the  ground-color  to  prevent 
its  blistering. 


ARTIST    AKD   TRADESMAN'S    COMPANION.  185 

For  Knotting. — One  pint  of  vegetable  naptha,  one 
teaspoonful  of  red  lead,  quarter  of  a  pint  of  japaner's 
gold-size,  seven  ounces  of  orange  shellac.  Added  to- 
gether, set  in  a  warm  place  to  dissolve,  and  frequently- 
shaken. 

Another. — Mix  white  or  red  lead  powder  in  strong 
glue-size,  and  apply  it  warm. 

Common  Flesh  Color. — Stain  your  white  lead  with 
red  lead,  and  mix  with  oil  and  turps. 

Fine  Flesh  Color. — Is  composed  of  white  lead,  lake 
and  vermilion. 

A  beautiful  Color  for  Carriages  or  Coaches,  &c. — Mix 
Victoria  lake  with  black  japan, 

A  good  Black  for  writing. — Vegetable  black  with 
boiled  oil  and  turps. 

Cream  Color. — This  is  a  mixture  of  chrome  yellow, 
the  best  English  Venetian  red,  white  lead,  and  red  lead, 
in  oil. 

Pearl  Gray. — White  lead,  with  equal  portions  of 
Prussian  blue  and  lamp-black ;  mix  with  oil  and  turps. 

Fawn  Color. — Grind  some  burnt  terradasienna  very 
fine.  Two  or  three  pounds  of  this  is  sufficient  to  stain 
white  lead  for  a  large  building. 

N.  B. — This  color  is  of  a  superior  shade,  and  very 
excellent  for  inside  work. 


186  ARTIST    AND    TRADESMAN'S    COMPANION. 

Blue. — Grind  Prussian  blue  in  turps  ;  other  blue  very- 
fine  in  linseed  oil,  and  mix  it  with  white  paint  to  the 
tint  required. 

Buff. — This  is  a  mixture  of  French  yellow  and  white 
lead,  tinged  with  a  little  Venetian  red,  oil,  and  turps. 

Straw. — A  mixture  of  chrome  yellow  and  white  lead, 
oil,  and  turps. 

Drah. — Raw  umber  and  white  lead,  with  a  little  Ve- 
netian red,  linseed  oil,  and  turps. 

Another. — Burnt  umber  and  white  vitriol,  with  a  little 
Venetian  Red,  oil,  and  turps,  as  before. 

Steel. — Mix  eeruse,  Prussian  blue,  fine  lac,  and  ver- 
digris, in  such  proportions  as  to  produce  the  required 
color. 

Purple. — White  lead,  Prussian  blue,  and  v-ermilion, 
with  oil  and  turps. 

Yiolet. — Is  composed  of  vermilion,  mixed  with  blue 
or  black,  and  a  little  white. 

French  Gray. — White  lead  and  Prussian  blue,  tinged 
with  vermilion  ;  and  for  the  last  coat  substitute  carmine 
or  lake  for  the  vermilion.     Mix  with  oil  and  turps. 

Silver. — Use  white  lead,  indigo,  and  a  small  portion 
of  black,  as  the  shade  may  require. 

Qold, — Mix  Naples  yellow  or  massicot  with  a  small 
quantity  of  realgar  and  a  little  Spanish  white. 


ARTIST    AND    TRADESMAN'S    COMPANION.  187 

Oold  Paint. — Take  one  pound  of  spirits  of  wine, 
quarter  of  a  pound  of  pure  gum-lac,  wash  it  till  the 
water  is  no  more  red  ;  when  dry,  grind  it  fine,  and  add 
it  to  the  spirits  of  wine  in  a  glazed  earthen  vessel  of  a 
size  which  will  not  be  more  than  three-parts  filled  by 
the  ingredients.  Place  this  vessel  in  another  which 
contains  the  water,  after  the  manner  of  a  glue-pot,  over 
a  fire  without  flame,  keep  it  boiling  till  the  gum  is  dis- 
solved, and  be  careful  that  no  lighted  candle  or  flame 
come  near  it.  Stir  it  while  boiling  with  a  piece  of 
wTiite  wood.  You  may  add  a  little  turmeric-root  or 
not  at  your  own  discretion.  In  case  of  its  taking  fire 
by  accident,  have  a  cloth  ready  in  water  to  extinguish 
the  flame.  When  dissolved,  strain  it  through  a  strong 
linen  cloth,  bottle,  and  well  cork  it.  To  use  this,  paint 
over  the  wood  three  times  with  a  soft  brush ;  let  each 
coat  well  dry  before  applying  the  other.  If  the  work 
be  silvered  over  first,  it  will  resemble  fine  gold. 

Dark  Chesnut. — Mix  red  ochre  and  black.  Use  yel- 
low ochre  when  you  require  to  lighten  the  color,  in  oil. 

Salmon. — White  lead,  tinged  with  the  best  English 
Venetian  red,  oil,  and  turps. 

Peach  Blossom. — White  lead,  tinged  with  orpiment ; 
mixed  with  oil  and  turps. 

J)rab. — White  lead  with  a  little  Prussian  blue  and 
French  yellow,  linseed  oil,  and  turps. 

Another. — White  lead,  with  a  little  French  yellow 
and  lamp-black,  linseed  oil,  and  tiirps. 


188  ARTIST   AND    TRADESMAN'S    COMPANION. 

Another. — White  lead,  with  a  h'ttle  chrome  green. 

Walnut  Tree. — Mix  ten  ounces  of  white  lead,  five 
ounces  of  red  ochre,  with  yellow  ochre  and  umber,  in 
quantities  as  required  for  darkening  or  lightening  the 
shade.     For  the  veining  use  ochre,  umber,  and  black. 

Ckesnut,  in  Oil. — Mix  red  ochre  and  black  ;  to  make 
it  lighter,  if  required,  add  yellow  ochre  ;  and  to  increase 
the  richness  of  the  color,  you  may  substitute  vermilion 
for  red  ochre,  and  add  stone  yellow  instead  of  ochre. 

Good  Drying  Black. — Put  some  lamp-black  into  an 
iron  ladle,  and  place  it  over  the  fire  till  it  becomes  red- 
hot,  and  when  the  smoke  is  disengaged  from  it,  take  it 
from  the  fire  and  extinguish  it  upon  the  slab,  or  mix 
with  some  boiled  oil ;  add  a  proportion  of  burnt  white 
vitriol.  If  a  jet  black  is  required,  add  a  little  Prussian 
blue. 

Another. — Mix  drop  black  in  gold-size  and  turps,  to 
dry  quickly,  one-third  size. 

Another. — Mix  drop  black  in  oil  and  turps. 

Lead. — This  is  a  mixture  of  lamp-black  and  white 
lead,  with  a  little  litharge. 

Chocolate. — Mix  lamp-black  and  Venetian  red  with  a 
little  red  lead,  or  litharge,  to  harden  the  color,  and  give 
a  drying  quality.  The  colors  must  be  ground,  and 
mixed  with  boiled  oil  and  a  little  turps. 


ARTIST    AND    TRADESMAN'S    COMPANION.  189 

Dark  Red,  for  common  purposes. — Mix  English  Vene- 
tian red  in  boiled  oil,  with  a  little  red  lead  and  litharge 
to  give  a  drying  quality. 

Lighter  Red. — Mix  together  equal  parts  of  Venetian 
red  and  red  lead,  in  boiled  oil  and  turps. 

To  Imitate  Vermilion. — Grind  together  in  oil  red  lead 
and  rose  pink. 

Deep  Red. — Mix  in  oil  vermilion,  with  a  dust  of  Ve- 
netian red  or  red  lead. 

Orange. — Mix  red  lead  and  French  yellow  with  lin 
seed  oil  and  turps. 

Unfading  Orange. — This  is  a  mixture  of  orange  lead 
(orpiment)  and  French  or  stone  yellow,  oil  and  turps. 

An  excellent  bright  Yellow  for  Floors,  &c. — White 
lead  and  linseed  oil,  mixed  with  some  French  yellow, 
and  a  little  chrome  yellow  to  brighten  it ;  some  red 
lead,  burnt  white  vitriol  and  litharge,  added,  to  give  it 
a  very  drying  quality.  This  color,  mixed  with  equal 
parts  of  boiled  oil  and  turpentine,  and  used  very  thin. 

Light  Pine. — Mix  spruce  ochre  with  white  lead  and 
umber. 

Dark  Yellow. — Mix  French  yellow  in  boiled  oil, 
adding  to  it  a  little  red  lead  and  litharge,  to  give  the 
paint  a  drying  quality 

Light  Yellow. — This  is  a  mixture  of  French  yellow 
and  white  lead,  with  oil  and  turps. 


190  ARTIST    AXD    TRADESMAN'S    COMPANION. 

Another. — French  yellow,  white  le^d,  aud  read  lead. 

Anotlur. — Grind  raw  terradasieniia  in  turps  and  lin- 
seed oil ;  mix  with  white  lead.  If  the  color  is  required 
of  a  warmer  cast,  add  a  little  burnt  terradasieuna  ground 

in  turps. 

Free  Stone. — A  mixture  of  red  lead,  Venetian  red, 
French  yellow,  and  lamp-black,  varying  the  shade  ac- 
cording to  taste,  with  linseed  oil  and  turps. 

Dark  LcaJ-coIor^  in  Oil. — Use  white,  black,  and  in- 
digo. 

Stone-color. — Yellow  ochre,  umber,  and  white  lead. 

Olive  Green. — A  suitable,  cheap,  and  handsome  color 
for  outside  work,  such  as  doors,  cart?,  wagons,  &c^ 

Grind  separately  Prussian  blue  and  French  yellow  in 
boiled  oil ;  then  mix  to  the  tint  required  with  a  little 
burnt  white  vitriol,  to  act  as  a  drier. 

Another. — This  is  a  mixture  of  Prussian  blue,  French 
yellow,  a  small  portion  of  Turkey  umber,  aud  a  little 
burnt  vitriol.     Ground  the  same  way. 

Another,  in  Oil. — Mix  Prussian  blue  and  chrome  yel- 
low.    Ground  the  same. 

Another  Shade. — A  mixture  of  Prussian  blue  and 
French  yellow,  w  ith  a  small  quantity  of  white  lead  and 
Turkey  umber  ;  add  burnt  white  vitriol.  Ground  the 
same. 


ARTIST    AND    TRADESMAN'S    COMPANION.  191 

Another,  light. — White,  mixed  with  verdigris.  A  va- 
riety of  shades  may  be  obtained  by  using  blue  and  yel- 
low with  white  lead. 

Another,  grass. — Yellow,  mixed  with  verdigris. 

Another. — Mix  one  pound  of  verdigris  with  two  pounds 
of  white  lead.    Walnut  oil  is  the  best  for  this  purpose. 

Another,  Olive. — Black  and  blue  mixed  with  yellow, 
in  such  quantities  as  to  obtain  the  colors  or  shades 
required.  For  distemper,  use  indigo  and  yellow  pink 
mixed  with  whiting  or  white  lead  powder. 

Another,  invisible,  for  outside  work. — Mix  lamp-black 
and  French  yellow  with  burnt  white  vitriol.  These 
colors  mix  in  boiled  oil.  Burnt  vitriol  is  the  best  drier 
for  greens,  as  it  is  powerful  and  colorless,  and  conse- 
quently will  not  injure  the  color, 

Brigh  Varnish-Green,  for  Inside  Blinds,  Fenders,  &c. — 
The  work  must  first  be  painted  once  over  with  a  light 
lead  color,  and  when  dry,  grind  some  white  lead  in 
spirits  of  turpentine  ;  afterwards  take  about  one-third  in 
bulk  of  verdigris,  which  has  been  ground  stiff  in  linseed 
oil ;  then  mix  them  both  together,  and  put  into  it  a 
little  resin  varnish,  sufficient  only  to  bind  the  color. 
When  this  is  hard,  which  will  be  the  case  in  fifteen 
minutes,  pour  into  the  color  some  resin  varnish  to  give 
it  a  good  gloss.  Then  go  over  the  work  a  second  time, 
and,  if  required,  a  third  time.  Thus  you  will  have  a 
cheap  and  beautiful  green  with  a  high  polish.     It  pos- 


19S  ARTIST    AND    TRADESMAN'S     COMPANION. 

sesses  a  very  drying  quality,  as  the  work  may  be  com 
plated  in  a  few  hours.     The  tint  may  be  varied  accord- 
ing to  taste,  by  substituting  mineral  green  for  verdigris ; 
and  if  a  bright   grass-green   is   required,  add  a  little 
Dutch  pink  to  the  mixture. 

N.  B. — This  color  must  be  used  when  quite  warm,  to 
give  the  varnish  an  uniform  extension. 

Pea  Green. — Take  one  pound  of  genuine  mineral 
green,  one  pound  of  the  precipitate  of  copper,  one  pound 
and  a  half  of  blue  verditer,  three  pounds  of  white  lead, 
three  ounces  of  sugar  of  lead,  and  three  ounces  of  burnt 
white  vitriol.  Mix  the  whole  of  these  ingredients  in 
linseed  oil,  and  grind  them  quite  fine.  It  will  produce 
a  bright  mineral  pea-green  paint,  preserve  a  blue  tint, 
and  keep  any  length  of  time  in  any  climate,  without 
injury,  by  putting  water  over  it.  To  use  this  color  for 
house  or  ship  painting,  take  one  pound  of  the  green 
paint  with  some  pale  boiled  oil,  mix  them  well  together, 
and  this  will  produce  a  strong  pea-green  paint.  The 
tint  may  be  altered  at  pleasure,  by  adding  a  propor- 
tionate quantity  of  white  lead  to  the  green,  which  may 
be  ground  in  linseed  oil,  and  thinned  with  spirits  of  tur- 
pentine for  use.  It  may  also  be  used  for  painting  Ve- 
netian window-blinds,  by  adding  white  lead,  and  mixing 
the  color  with  boiled  oil.  For  all  the  aforesaid  pre- 
parations it  will  retain  a  blue  tint,  which  is  very  de- 
sirable. 

Compound  Greens. — This  is  a  mixture  of  whiting,  in- 
digo, and  Dutch  pink,  the  intensity  of  which  may  be 


ARTIST    AND    TRADESMAN'S    COMPANION.  193 

increased  or  diminished  by  the  addition  of  blue  or  yel- 
low. These  mixtures  will  not  admit  of  any  fixed  rules 
in  regard  to  the  quantity  of  the  matters  used  in  their 
composition.  They  must  depend  on  the  taste  of  the 
artist,  and  the  tone  he  is  desirous  of  giving  to  the  color. 

Painting  on  Glass. — One  ounce  of  clear  resin  ;  melt 
it  in  an  iron  vessel ;  when  all  is  melted,  let  it  cool 
a  little,  but  not  harden  ;  then  add  oil  of  turpentine 
sufficient  to  keep  it  in  a  liquid  state.  When  cold,  use 
it  with  ground  colors  in  oil. 

To  Imitate  Ground  Glass. — Two  ounces  of  spirits  of 
salts,  two  ounces  of  oil  of  vitriol,  one  ounce  of  sulphate 
of  copper,  one  ounces  of  gum  arabic,  mixed  together, 
and  dabbed  on  with  a  brush. 

Another. — Dab  your  squares  regularly  over  with  put- 
ty ;  when  dry,  go  over  them  again,  the  imitation  will  be 
executed. 

Another. — Mix  Epsom  salts  with  porter,  and  apply  it 
with  a  brush. 

To  Paint  in  Imitation  of  Ground  Glass. — Grind  and 
mix  white  lead  in  three-fourths  of  boiled  oil,  and  one- 
fourth  of  spirits  of  turpentine ;  and  to  give  the  mixture 
a  very  drying  quality,  add  sufficient  quantities  of  burnt 
white  vitriol  and  sugar  of  lead.  The  color  must  be 
made  exceedingly  thin,  and  put  on  the  panes  of  glass 
with  a  large  painting-brush  in  as  even  a  manner  as  pos- 
sible. When  a  number  of  the  panes  are  thus  painted, 
take  a  dry  duster,  quite  new,  dab  the  ends  of  the  bris- 

9 


194  ARTIST    AND   TRADESMAN'S    COMPANION. 

ties  on  the  glass  in  quick  succession,  till  you  give  it  an 
uniform  appearance  ;  repeat  this  operation  till  the  work 
appears  very  soft,  and  it  will  then  appear  like  ground 
glass.  When  the  windows  require  fresh  painting,  get 
the  old  coat  off  first  by  using  strong  pearl-ash  water. 
This  application  requires  but  little  labor. 

Quick  Drying  Color. — Mix  the  color  in  two-thirds  of 
turpentine,  and  one  of  gold-size  ;  then  varnish  when 
dry. 

To  Prepare  Oil  for  Walls. — The  oil  should  be  boiling. 
To  make  the  oil  drying,  add  half  an  ounce  of  litharge 
to  a  quart  of  linseed  oil. 

Hard  Drying  Paint. — Grind  Venetian  red,  or  any 
other  color  you  think  proper,  in  boiled  oil ;  then  thin  it 
with  black  japan.  It  will  dry  very  hard  for  counter- 
tops,  (fee. 

Carnation  Color,  in  Oil. — A  mixture  of  lake  and 
white. 

Fawn  Color.  —  White  lead,  stone  ochre,  and  ver- 
milion. 

First  coat  for  Sheet  Iron. — Use  yellow  ochre  in  oil  or 
Venetian  red  ;  a  little  white  lead  may  be  added. 

To  paint  a  Bronze. — Grind  good  black  with  chrome 
yellow  and  boiled  oil ;  apply  it  with  a  brush,  and  when 
nearly  dry  use  the  bronze  powder  at  certain  parts,  and 
the  edges  also  ;  the  effect  will  be  a  brassy  hue. 


ARTIST   AND    TRADESMAN'S    COMPANION.  195 

Lead  Color  for  Iron,  (&c. — Take  litharge  and  place  it 
over  a  tire  in  an  iron  ladle ;  sprinkle  over  it  flour  of 
brimstone.  To  turn  it  dark  grind  it  in  oil.  It  dries 
quick,  and  stands  well  in  any  weather. 

A  good  Imitation  of  Gold. — Mix  white  lead,  chrome 
yellow,  and  burnt  sienna,  until  the  proper  shade  is 
obtained. 

Painter^s  Cream. — Which  preserves  the  color  and 
freshness  of  work  when  it  is  allowed  to  remain  unfin- 
ished ;  use  as  varnish.  Make  it  as  follows  :  One  ounce 
of  mastic  finely  powdered,  and  dissolve  it  over  a  gentle 
fire  in  six  ounces  of  clear  nut-oil.  Put  it  into  a  marble 
mortar  with  five  drachms  of  powdered  sugar  of  lead, 
stir  all  together  with  a  wooden  pestle,  adding  water  in 
small  quantities  till  it  has  the  appearance  of  cream,  and 
refuses  more  water  so  as  to  mix  freely. 

For  cleaning  Stone  Pavement,  Steps  at  Hall  Doors, 
dc. — Boil  together  one  pint  of  white  size,"  with  the  same 
quantity  of  stone-blue  water,  four  cakes  of  pipe-clay, 
four  table  spoonfuls  of  whiting  in  one  gallon  of  water. 
Wash  the  stones  slightly  with  this,  and  when  dry,  rub 
them  with  a  flannel  and  brush. 

To  clean  Marble. —  Mix  a  bullock's  gall  with  four 
ounces  of  soap-lees  and  two  ounces  of  turpentine,  add 
pipe-clay,  and  make  it  into  a  paste.  Apply  it  to  the 
marble,  and  let  it  remain  twenty-four  hours ;  rub  it  off, 
and  if  not  clean,  repeat  it  till  it  is. 


196  ARTIST   AND    TRADESMAN'S    COMPANION. 

Another. — Apply  muriatic  acid  ;  if  too  strong,  it  will 
take  off  tlie  polish.  Polish  again  with  felt  and  tripoli, 
or  putty  powder,  and  use  water  with  either. 

To  clean  Alabaster. — Pumice-stone,  powdered  fine  and 
mixed  with  verjuice.  Let  it  stand  for  three  hours,  and 
rub  it  over  ;  wash  it  with  a  linen  cloth  and  water ;  rub 
dry  with  clean  linen  rags. 

To  make  Chrome  Yellow. — One  pound  of  dry  white 
lead,  ground  in  water,  two  ounces  of  sugar  of  lead,  one 
ounce  of  cromate  of  potash.  The  two  last  dissolved  in 
one  pint  of  boiling  water,  and  poured  upon  the  lead. 
When  settled,  pour  off  the  water  and  dried. 

Tar-Paint  for  Fences,  Roofs,  <&€. — Common  tar  mixed 
with  whiting,  Venetian  red,  or  French  yellow,  according 
to  the  color  required.  This  should  be  warmed  in  a 
large  iron  kettle  in  the  open  air,  and  applied  with  a 
large  painting-brush.  It  is  an  excellent  preservative  of 
the  wood,  and  looks  well  for  rough  work. 

Paint-Dryers  ;  Litharge. — This  is  a  useful  dryer,  and 
may  be  used  in  all  kinds  of  paints,  except  greens  and 
very  delicate  colors. 

White  Vitriol  or  Copperas. — ^This  turns  into  water, 
especially  when  used  in  black  paints,  and  is  almost  use- 
less for  any  color  till  the  water  of  crystallization  is 
evaporated,  and  then  it  becomes  a  powerful  dryer,  and 
may  be  used  for  every  delicate  color,  as  it  is  perfectly 
transparent ;  but  when  used  in  its  raw  state  in  white 
paint,  has  the  effect  of  turning  it  yellow. 


ARTIST  AND  TRADESMAN'S  COMPANION.      197 

Sugar  of  Lead. — This  is  a  very  useful  and  trans- 
parent dryer ;  not  so  powerful  as  white  vitriol,  but  it 
may  be  used  with  it  to  advantage. 

To  Prepare  Damp  Walls  for  Painting. — One  pound 
of  good  glue  dissolved  in  one  gallon  of  water,  and  thick- 
ened with  red  lead  ;  to  be  brushed  on  while  hot. 

To  Repair  Broken  Walls. — Use  plaster  of  Paris  and 
white-house  sand,  in  nearly  equal  quantities,  mixed  with 
water. 

To  Dry  Damp  Walls. — To  make  them  fit  for  paper- 
ing, wash  the  damp  wall  with  sulphuric  acid,  by  which 
the  deliquescent  salts  are  decomposed,  it  then  becomes 
dry. 

To  Remove  Paint  and  Oil  from  Boards. — Mix  together 
soap-lees  and  fuller's-earth ;  rub  it  in  and  let  it  dry  ; 
afterwards  scour  it  with  soft  soap,  sand,  and  hot  water. 

For  WJiiting  Ceilings  in  Distemper. — Half  a  pound  of 
roach-alum  dissolved  in  hot  water,  two  pounds  of  selica, 
and  six  pounds  of  whiting,  for  six  ceilings,  twenty  feet 
by  sixteen.  This  mixture  will  give  time  for  the  work- 
man to  execute  his  work  properly. 

Quantity  of  Color  to  be  used. — For  first  coat  mix  one 
pound  for  twelve  yards  of  mahogany-color ;  for  oak, 
&c.,  double  the  quantity  ;  for  drabs  and  stone-colors, 
the  same  quantity. 

Quantity  of  Varnish  to  be  used. — One  pint  to  sixteen 
square  yards,  for  first  coat. 


198  ARTIST    AND    TRADESMAN'S    COMPANION. 

F<yr  Cleaning  Oil  Paintings,  Wainscoting,  or  Furni- 
ture.— Smash  or  grate  into  clean  water  raw  potatoes, 
sufficient  to  form  a  thin  paste,  add  fine  powdered 
pumice-stone  or  fine  sand,  and  with  a  sponge  well  clean 
the  work,  then  finish  with  water  and  a  cloth.  When 
dry,  polish  or  varnish  may  be  applied. 

To  Kill  Smoke  on  Walls. — Walls,  if  almost  black, 
and  are  very  smoky,  must  be  brushed  as  clean  as  possi- 
ble with  a  broom,  and  in  order  to  kill  the  smoke,  wash 
them  over  with  strong  pearl-ash  or  soda-water,  and  im- 
mediately rinse  them  with  clear  water  before  the  pearl- 
ash  is  dry.  When  dry,  give  them  a  thin  coat  of  fresh 
slacked  lime,  with  a  good  proportion  of  alum  dissolved 
in  hot  water  and  mixed  with  it.  The  work  should  be 
finished  with  whiting  and  London  size.  Be  careful  not 
to  apply  the  size-distemper  till  the  lime-wash  is  dry,  as 
the  latter  will  destroy  the  strength  of  the  size  if  they 
come  in  contact  while  wet. 

For  Smoky  Mantel-pieces,  dc. — Mix  a  strong  solution 
of  alum  and  water,  and  apply  it  hot ;  when  dry,  sand 
paper  it,  and  give  it  a  coat  of  paint. 

To  Prepare  Smoky  Rooms  for  Painting. — If  there  is 
a  smoky  gloss  on  the  part  intended  to  be  painted,  rub 
it  off  with  sand-paper,  and  whitewash  over  with  newly- 
slacked  lime.  When  this  is  dry,  brush  it  off  clean,  and 
well  scrub  the  work  with  strong  pearl-ash  water,  and 
afterwards  rinse  it  well  with  clear  water  ;  finish  it  by 
giving  it  a  coat  of  weak  size,  with  a  little  white  lead 


ARTIST    AND    TRADESMAN'S    COMPANION.  199 

powder  mixed  with  it,  or  dissolve  alum  in   hot  water 
and  brush  on. 

To  Clean  Oil  Paintings  if  Smoked,  Dull,  or  Dirty. — 
Dissolve  a  little  common  salt  with  stale  urine  and  a 
grated  potato  mixed  in  them  ;  rub  them  over  with  a 
woollen  cloth  till  you  think  them  clean,  then  with  a 
sponge  wash  them  over  with  clear  water,  then  dry  them, 
and  rub  them  over  with  a  clean  cloth. 

To  Whiten  Linseed  Oil. — Shake  up  daily  two  ounces 
of  litharge  in  a  gallon  of  oil  and  eight  ounces  of  spirits 
of  turpentine,  for  fifteen  days,  afterwards  let  it  settle 
three  days.  Pour  off  the  clear  part  into  a  shallow 
vessel,  and  place  it  in  the  sun  three  days  to  whiten  and 
clear  it. 

To  Cure  Damp  Walls. — Boil  two  ounces  of  grease 
with  two  quarts  of  tar,  for  nearly  twenty  minutes,  in  an 
iron  vessel,  and  having  ready  pounded  glass  one  pound, 
slacked  lime  two  pounds  ;  well  dried  in  an  iron  pot,  and 
sifted  through  a  flour  sieve.  Add  some  of  the  lime  to 
the  tar  and  glass,  to  make  it  the  thickness  of  a  thin 
paste  sufficient  to  co^i^r  a  square  foot  at  a  time,  as  it 
hardens  so  quick.  Apply  it  about  an  eighth  of  an  inch 
thick. 

To  Prepare  Wood  and  Brick  Work  from  damp  wea- 
ther.— Take  three  pecks  of  lime  slacked  in  the  air,  two 
ditto  of  wood  ashes,  and  one  peck  of  fine  sand.  Sift 
them  fine,  and  add  linseed  oil  sufficient  to  use  with  a 
paint-brush  ;  thin  the  first  coat ;  use  it  as  thick  as  it 


200  ARTIST    AND    TRADESMAN'S    COMPANION. 

will  work  the  second  coat.     Grind  it  fine  or  beat  it  in  a 
trough,  and  it  is  a  good  composition. 

Putty  for  Repairing  Broken  Walls. — The  best  putty 
for  walls  is  composed  of  equal  parts  of  whiting  and 
plaster  of  Paris,  as  it  quickly  hardens.  The  walls  may 
be  immediately  colored  upon  it.  Some  painters  use 
whiting  mixed  with  size  ;  but  this  is  not  good,  as  it 
rises  above  the  surface  of  the  walls,  and  shows  in 
patches  when  the  work  is  finished.  Lime  must  not  be 
used  as  a  putty  to  repair  walls,  as  it  will  destroy  almost 
every  color  it  comes  in  contact  with. 


ART  OF  IMITATING  OAK,  MAHOGANY,  SA- 
TIN  "WOOD,  WALNUT,  ROSE  WOOD,  AND 
MAPLE. 

Oa.Jc  is  preferable  to  other  imitations  for  outside  work, 
on  doors  and  shutters,  where  a  show  of  strength  and 
durability  is  required.  As  it  is  capable  of  great  and 
pleasing  variety  and  contrast,  skill  and  taste  are  only 
to  be  properly  attained  in  this,  as  in  other  imitations, 
by  a  careful  study  of  the  best  specimens  of  the  natural 
wood.  The  lightest  parts  of  oak,  called  the  flowers, 
should  be  carefully  studied,  with  a  view  to  color  the 
ground  properly.  The  light  buff  color  here  seen,  is 
made  with  raw  umber  and  white,  and  sometimes  tinsrcd 


ARTIST    AND   TRADESMAN'S    COMPANION.  201 

with  Indian  red,  according  to  the  character  of  the  wood, 
as  age  changes  the  tints  of  oak  materially.  The  ground, 
however,  should  be  always  light  in  color,  because  it  can 
be  easily  remedied  in  shade  by  glazing.  This  ground- 
work, in  all  cases,  should  be  quite  hard,  smooth,  and 
clean,  as  much  of  the  beauty  of  the  work  depends  upon 
it.  It  is  best  made,  as  before  noted,  of  white,  tinted 
with  raw  umber,  taking  care  to  make  it  a  light  color. 

Manv  varieties  of  brushes  and  tools  are  used  :  the 
copper-bound,  ground-coating  brush,  steel-combs,  of  ex- 
tra fine,  fine,  graduated,  middling,  and  coarse  teeth,  from 
one  inch  to  six  inches  wide ;  leather-combs  of  various 
widths ;  horn-combs,  of  different  fineness  of  teeth  and 
widths  ;  sable  and  hog-hair  overgrains  ;  badger  blenders, 
knotted  and  flat;  camel's-hair  and  hog-hair  dab-tools; 
hog-hair  blenders  and  flogger  ;  wash-leather,  cork-stump, 
oak-striper,  sable  and  camel's-hair  pencils,  large  and 
small  fitches,  &;c. 

They  also  prepare  their  color  variously,  but  the  fol- 
lowing recipe  will  be  found  useful  for  a  megilp : 

Take  eight  ounces  of  rotten-stone,  and  eight  ounces 
of  sugar  of  lead,  and  grind  them  together  as  stiffly  as 
possible  in  linseed  oil.  Then  take  sixteen  ounces  of 
white  wax,  and  melt  it  gradually  in  an  earthen  pipkin. 
When  quite  fluid,  pour  in  carefully  eight  ounces  of 
spirits  of  turpentine.  Mix  this  well  with  the  wax  : 
when  well  mixed,  pour  the  contents  of  the  pipkin  on 
the  grinding-stone  to  get  cold  ;  when  cold,  grind  the 
rotten-stone  and  sugar  of  lead  as  above,  with  the  wax, 
and  it  will  form  an  excellent  megilp,  which  will  keep  a 


202  ARTIST    AND    TRADESMAN'S    COMPANION. 

long  time  if  protected  from  dust.  When  required  to 
be  used,  it  is  to  be  taken  out  with  a  pallet-knife  on  the 
stone  or  pallet-board,  and  tempered  with  boiled  oil. 

The  first  operation  for  the  graining,  is  to  spread  the 
megilp  evenly  and  thinly  upon  the  work,  with  the  cop- 
per-bound brush.  A  few  minutes  after,  take  the  widest 
and  most  separated  tooth  comb — some  use  the  leather 
combs,  and  others  the  horn — and  holding  it  firmly,  draw 
it  over  the  work,  making  the  grain  slantwise  or  wavy, 
as  the  work  may  require.  This  large  tooth  comb  will 
take  up  but  little  of  the  megilp,  spreading  it,  making  it 
come  up  between  the  teeth  in  thicker  streaks.  It  is 
better  not  to  go  over  more  than  a  yard  square  at  one 
time,  as  the  megilp  dries  quickly,  and  when  dry  is  un- 
manageable. After  the  large  comb  is  passed  over,  it  is 
to  be  followed  by  the  next  size,  tremulously  drawn  over 
the  whole  woi'k,  rather  towards  one  side,  bearing  more 
heavily  on  some  parts  than  others.  This  will  break  up 
the  first  lines,  and  is  to  be  followed  up  by  the  finer 
combs  progressively,  using  the  finer  combs  to  produce 
the  grains  nearest  the  heart  of  the  tree. 

Having  used  the  combs,  take  a  piece  of  wash-leather, 
and,  doubling  it  to  a  point,  take  out  the  lights  or  flow- 
ers of  the  oak,  and  if  these  are  wanted  fine,  go  over  it 
again  with  the  wash-leather,  over  the  end  of  a  stick,  or 
ase  the  cork-stump.  The  work  is  sometimes  left  here, 
but  can  be  sensibly  improved  by  the  use  of  the  flogger, 
to  break  up  the  lines,  and  also  the  oak  bander,  which  is 
used  as  a  top-grainer,  straitly  over  the  work  with  thin 
megilp.     If  darker  touches  are  required,  they  are  best 


ARTIST  AND    TRADESMAN'S    COMPANION.  203 

made  with  the  megilp,  ground  with  Vandyke  brown, 
instead  of  the  rotten-stone  ;  and  if  the  work  needs  dark- 
enhig,  a  little  raw  or  burnt  umber  should  be  mixed  with 
the  megilp  and  glazed  over  it. 

In  forming  joints  or  panels  of  this  wood,  flowers  or 
lights,  well  formed,  should  be  carefully  drawn  next  each 
other,  and  as  few  knots  as  convenient  introduced,  nor 
any  very  dark  or  glazed  panels  along  side  the  un- 
glazed  ones,  to  make  the  others  glare  and  stand  out  too 
much. 

If  you  wish  to  form  a  join,  lay  a  straight-edge  along 
the  edge,  guarding  its  ends  with  paper,  and,  holding  it 
firmly,  draw  the  second  fine  comb  along  the  edge  sharply, 
keeping  the  end  close  against  it.  This  will  form  a  good 
join.  Sometimes  the  large  comb  is  used  on  both  sides 
of  the  panel,  letting  the  grain  meet  in  the  centre,  the 
fine  combs  following  with  a  wavy  motion  in  the  same 
direction,  and  the  remainder  of  the  work  finished  as  be- 
fore. In  this  way  many  varieties  of  work  can  be  intro- 
duced, copying  the  best  specimens  of  the  natural  wood 
you  can  obtain. 

Be  careful  to  wash  the  brushes  and  tools  well  from 
the  megilp,  so  as  to  keep  them  clean,  especially  the 
teeth  of  the  combs.  Dry  the  horn  combs,  and  keep 
them  wrapped  in  wash-leather. 

Jjak  in  Distemper  is  made  with  raw  and  burnt  umber 
and  Vandyke  brown,  ground  in  water,  and  tempered 
with  old  beer.  Of  late  years,  Mr.  Stephens,  of  Lon- 
don, a  celebrated  chemist,  has  prepared  chea;iical  paste 


204  ARTIST    AND    TRADESMAN'S    COMPANION. 

colors,  which  attach  themselves  firmly  to  the  ground, 
and  are  found  useful  in  indoor  work,  as  they  are  pre- 
pared just  the  requisite  tints  of  oak,  maple,  mahogany, 
and  satin  wood  colors.  The  ground  for  distemper  oak 
is  similar  to  that  of  oak,  except  that  if  it  be  required  to 
make  it  darker,  you  must  have  a  little  Indian  red  added 
to  your  ground-color,  as  you  cannot  depend  on  your 
glazing  to  alter  it. 

The  ground  must  be  perfectly  clean  and  dry — free 
from  any  grease  spots  or  finger  marks,  as  the  color  will 
not  hold  on  them. 

When  your  ground  is  clean  and  dry,  take  some  of 
your  paste-color,  or  raw  umber  and  sienna,  ground 
thickly  in  water,  and  put  it  on  your  pallet-board,  and, 
after  thinning  it  a  little  with  the  beer,  with  your  copper- 
bound  brush  working  it  through  the  color  thoroughly, 
until  it  is  full  of  the  color,  draw  it  diagonally  and  wavily 
across  the  work,  in  such  a  way  as  somewhat  to  imitate 
the  combing  in  oil.  Then  with  the  flogger  lightly  beat 
it  with  the  points  of  the  hairs,  the  reverse  way  to  that 
in  which  the  color  is  laid  on,  quickly,  and  with  a  light 
hand,  varying  and  turning  the  hand  to  correspond  with 
the  grain  put  on.  By  this  time,  the  work  will  have  be- 
come tachy  or  nearly  dry,  when  the  flowers  or  lights  are 
to  be  taken  out  with  a  damp  wash-leather,  folded  to  a 
point,  or  over  the  end  of  a  stick,  or  with  a  cork-stump, 
as  described  in  the  oil-graining.  • 

It  is  well  to  do  this  with  spirit,  and  not  attempt  too 
large  a  surface  at  once,  that  it  may  remain  sufficiently 
damp  to  finish  it  together.     As  soon  as  it  is  dry,  with  a 


ARTIST   AND   TRADESMAN'S    COMPANION.  205 

sable-pencil  filled  with  umber  an-d  Vandyke  brown, 
diluted  with  beer,  put  in  the  dark  veins  that  cross  the 
grain.  When  the  panel  is  finished  with  damp  wash- 
leather,  wipe  the  edges  clean  where  the  adjoining  work 
has  been  touched,  and  proceed  to  the  next  panel,  wiping 
the  damp  cloth  over  it  to  clean  it,  and  enable  the  color 
to  take  on  it ;  then  proceed  as  above,  varying  your  work 
according  to  fancy.  If  a  knot  be  required  in  the  work, 
make  it  small  on  the  sides  of  the  panels  or  stiles,  by 
putting  the  w^ash-leather  over  the  end  of  the  fore-finger, 
and  placing  it  where  the  knot  is  wanted  :  holding  it 
firmly  in  one  spot  and  turning  it  around,  will  take  the 
color  off  as  is  desired — the  lights  above  and  below  to  be 
taken  out  with  the  folded  wash-leather,  and  the  whole 
blended  with  the  badger-brush.  A  join  is  made  against 
or  across  the  work,  along  the  straight-edge,  with  the 
flogger,  used  as  the  comb  in  oil.  When  the  panels  are 
finished,  draw  the  damp  wash-leather  over  the  finger, 
and  wipe  off  the  color  which  may  have  touched  beyond 
them  in  finishing  the  panels,  using  the  straight-edge 
where  .it  is  necessary  to  define  the  end  or  edge  of  the 
work.  The  stiles  may  then  be  similarly  grained,  vary- 
ing the  ornaments  and  grain,  so  as  to  produce  a  pleasing 
contrast.  When  the  whole  work  is  finished,  it  must  be 
varnished,  and  if  it  needs  retouching,  to  darken  it,  or 
vein  it,  it  can  be  done  just  before  the  varnishing,  with 
the  sable-pencil,  as  noted  above. 

As  this  is  intended  for  learners,  it  may  be  well  to  re 
capitulate  some  of  the  leading  directions. 


206  ARTIST    AND    TRADESMAN'S    COMPANION. 

1st.  The  ground  must  be  dry  and  clean,  wiped  over 
with  the  damp  wash-leather. 

2d.  Have  all  the  colors  you  may  require,  with  your 
pallet,  wash-leather,  cork-stump,  brushes,  &c.,  ready  for 
use,  as  the  color  dries  too  rapidly  to  allow  any  time  tc 
go  for  them. 

3d.  To  have  the  appearance  of  the  work  required 
formed  in  the  mind,  so  that  you  can  work  quickly  and 
decidedly.  If  you  are  not  capable  to  do  that,  you  must 
have  a  pattern  before  you. 

4th.  Never  prepare  too  much  at  one  time,  nor  en- 
deavor to  patch  or  mend  :  if  it  does  not  suit,  rub  all 
out  and  commence  again. 

5th.  In  pencilling  the  fine  veins,  do  not  have  the  color 
too  wet,  lest  it  run  on  the  ground  and  drag  on  the  grain- 
ing, spreading  over  the  work.  Let  these  dark  lines  be 
always  wavy. 

Some  grainers,  after  grinding  the  color  in  beer,  mix 
a  little  soap,  wax,  and  turpentine,  to  hinder  its  quick 
drying,  and  make  it  work  smoothly  ;  but  it  clogs  the 
flogger,  and  thereby  mars  the  work.  Some,  before 
graining,  beat  soap  into  a  lather,  and  brush  it  thickly 
over  the  work,  to  make  the  color  work  softer  and  more 
pleasant.  Yet  the  fine  ground-color,  as  first  described, 
is  the  best  and  most  easy  with  a  little  practice.  An  old 
style,  now  exploded,  was  to  put  the  color  on  thickly, 
and  take  out  the  lights  with  dilute  muriatic  acid,  grain 
over  it,  and  then,  brushing  it  smartly  with  a  duster,  the 
parts  touched  bv  the  acid  came  off".  It  never  makes  the 
fine  work  as  the  regular  way  ;  yet  nature  is  the  best 


ARTIST    AND    TRADESMAN'S    COMPANION.  207 

guide,  and  will  direct  the  judgment  and  skill  as  the  best 
action,  according  to  its  location  and  character. 

Satin  Wood  is  principally  used  on  inside  work  and  on 
panels,  the  stiles  alongside  generally  grained  in  ros^ 
wood.  The  gruund  for  this  wood  is  a  light  buff,  and, 
when  dry  and  perfectly  clean,  paint  it  smoothly  over 
with  Oxford  ochre,  finely  ground  in  strong  beer.  Then, 
with  a  fine  dab-tool,  wipe  out  the  lights  from  top  to 
bottom,  or  lengthwise  of  the  work,  in  a  free  and  care- 
less manner.  Then  soften  the  edges  with  the  badger 
blender,  working  it  transversely.  When  the  work  is 
quite  dry,  mix  raw  sienna  and  raw  umber,  finely  ground 
with  the  beer,  and  dilute  it,  and  with  your  sable  top- 
grainer  pass  lightly  over  the  work  in  a  wavy  direction, 
and  use  the  blender  immediately,  brushing  it  more  upon 
the  light  parts  to  take  off  the  grain.  When  dry  and 
varnished,  it  will  be  finished. 

Mahogany  Color. — The  ground  should  be  prepared 
with  Venetian  red  and  white.  The  color  to  be  used  on 
outside  or  exposed  work  is  burnt  sienna,  finely  ground 
in  oil ;  rose  pink  for  the  light  veining-ground,  in  boiled 
oil  and  spirits  of  turpentine  ;  the  dark  veining,  Van- 
dyke brown,  also  ground  in  boiled  oil  and  spirits  of 
turpentine.  Remember  to  make  the  tint  of  the  ground 
light  colored.  This  ground  is  first  covered  with  a  thin 
coat  of  the  burnt  sienna,  heightened  with  the  rose  pink, 
diluted  with  japan  and  spirits  of  turpentine,  and  if  the 
tint  suit,  the  mottling  must  be  w-iped  out  with  the  dab- 
tool,  after  the  manner  of  the  satin  wood  just  described  j 


205  ARTIST    AND    TRADESMAN'S    COMPANION. 

after  softening  with  the  badger-brush,  the  light  veins 
then  passed  over  with  the  sable  top-grainer,  made  almost 
wholly  with  rose  pink  ;  and,  ultimately,  the  fine  dark 
veins,  grained  over  with  the  hog-hair  top-grainer  :  the 
color,  made  of  thin  Vandyke  brown,  tempered  as  before 
with  japan  and  spirits  of  turpentine,  and  it  is  ready  for 
the  varnish. 

Mahogany  in  Distemper,  is  worked  with  the  same 
colors,  ground  in  water  and  tempered  with  old  beer.  If 
the  work  requires  heightening,  add  a  little  orange  chrome 
yellow  to  the  ground-color,  and  proceed  with  the  work 
somewhat  after  the  manner  described  in  the  satin  wood 
directions,  except  that  the  panels  are  usually  worked  so 
as  to  show  a  diagonal  heart  or  crotch,  which  is  fre- 
quently observed  in  the  natural  veneers.  The  stiles  are 
to  be  finished  more  straightly,  and  not  so  deep  in  color. 
A  close  study  of  the  best  veneers  of  this  beautiful  wood, 
will  enable  the  workman  to  make  passable  imitations 
of  it.     It  is,  when  dry,  ready  for  the  varnish. 

Walnut  is  worked  with  crotches  or  veining,  similar  to 
the  mahogany  ;  making  the  ground  with  ochre,  Indian 
red,  umber,  and  white.  The  megilp,  as  described  under 
the  oak  heading,  is  prepared  with  Vandyke  brown  ;  and 
for  the  darker  shades,  fine  ivory-black  ;  the  wiping  out 
and  blending  to  resemble  that  in  the  mahogany ;  the 
fine  dark  veins  of  ivory-black,  to  be  lightly  and  wavily 
drawn  over  the  work  after  it  is  blended.  It  is  then 
ready  fur  the  varnish. 


ARTIST    AND    TRADESMAN'S    COMPANION.  209 

Eose  Wood  is  of  a  great  variety  of  tints.  The  ground 
is  formed  of  vermilion,  lake,  and  white ;  the  veins 
formed,  as  above,  with  Vandyke  brown  and  ivory-black. 
Spread  nearly  over  the  work,  with  a  hog-hair  over-grain, 
lightly  veining  every  part  of  it ;  after  which,  as  in  dis- 
temper oak,  the  color  is  to  be  flogged  against  the  grain. 
Then,  with  the  cork-stump,  or  the  wash-leather,  drawn 
over  the  end  of  a  stick,  the  lights  are  to  be  wiped  out 
in  an  elongated  manner,  as  if  caused  by  small  knots ; 
then,  with  the  Vandyke  brown  and  ivory-black,  and 
sable-pencil  or  fine  tool,  put  strong  and  free  touches 
under  those  lights.  Thin  fine  veins  are  to  be  made  with 
the  sable  over-grains,  and  the  dark  color  over  the  whole 
work,  and  lightly  blended,  after  which  it  is  ready  for 
the  varnish.  * 

Maple  is  painted  on  the  same  ground  as  oak,  with 
burnt  umber,  mixed  with  the  beer,  or  with  Stephen's 
prepared  color.  The  color  is  brushed  thinly  over  the 
ground,  and  then  the  surface  is  grained  all  over  with  the 
hog-hair  top-grainer,  after  which  a  fine  sable  over- 
grainer  is  used  to  put  therein  a  light  wavy  touch,  in 
nearly  the  same  general  direction.  The  work  is  then  to 
be  lightly  blended,  and  if  bird's  eyes  are  required,  they 
are  made  with  a  sable-pencil,  worked  on  the  point  in 
the  darker  parts  of  the  work.  If  no  bird's  eyes  are  put 
in  the  work,  it  is  to  be  flogged  against  the  grain,  as  be- 
fore described,  and  some  light  veining  passed  over, 
when  it  is  ready  for  the  varnish.  The  foregoing  direc- 
tions will  serve  a  workman  of  taste  to  imitate  almost 


210  ARTIST    AND    TRADESMAN'S    COMPANION. 

any  woods,  taking  care  to  study  the  ground  in  the  light 
parts  of  the  wood. 

Marble  Imitation. — The  white  or  Parian  marble  is 
most  easily  imitated  with  the  China  white  varnish  paint, 
not  glossed,  and  figures  and  niches  shaded  in  it  with 
blue  black  and  Vandyke  brown.  Cipolin,  or  white- 
veined  marble,  is  usually  imitated  in  oil-color,  or  per- 
haps might  be  more  perfectly  white  with  the  varnish 
white,  tempered  with  white  wax.  Its  first  broad  veins, 
seen  in  the  semi-transparent  surface,  are  of  a  reddish 
gray,  formed  with  some  white,  blue  black,  and  Indian 
red. 

Veins  of  marble,  of  all  kinds,  run  similar  to  thin 
streams  of  water,  as  they  would  show  on  an  inclined 
plane,  as  the  top  of  a  table  raised  by  one  corner ; 
which,  if  they  commence  regularly,  soon  alter  their 
course — now  forming  a  star,  thence  spreading  with  finer 
threads  ;  others  join  into  a  thick  vein,  and  again  sepa- 
rate, yet  all  coursing  without  sudden  break  to  the  bot- 
tom. Following  such  general  courses,  the  first  broad 
vein  must  be  scumbled  in,  like  thick  branches.  Over 
these,  and  following  the  same  direction,  the  darker  veins, 
with  black  added,  are  next  drawn,  a  little  zig-zag  in 
their  course  ;  and  again  another  fine  vein,  made  richer 
with  lake,  and  darkened  with  Vandyke  brown,  still 
more  wavily  drawn  with  the  fine  sable-pencil.  The 
whole  must  then  be  lightly  and  carefully  blended  ;  the 
v'eining-color  may  be  mixed  with  japan  and  spirits,  to 
facilitate  its  drying.  When  dry,  it  must  be  varnished 
with  the  lightest  copal. 


ARTIST    AND    TRADESMAN'S    COMPANION.  211 

Marbling  Walls. — Walls  may  be  imitated  in  distera 
per  or  size,  by  using  fine  whiting,  tempered  with  glue 
size,  and  lamp  or  blue  black,  Indian  red  and  slip  blue, 
tempered  with  old  beer.  A  similar  process  is  to  be 
followed,  taking  care  not  to  wet  over  a  square  yard  at 
one  time,  and  carefully  damping  the  edges  of  the  fin- 
ished parts,  so  as  to  join  the  work  properly,  and  coursing 
over  the  work,  before  blending,  a  thin  white  vein.  Other 
wall  marbling  may  be  done  by  making  a  fawn  size-color 
of  yellow  ochre,  white,  and  a  little  Indian  red.  Have 
some  clear  white  and  Indian  red  ready,  and  commence 
by  dabbing  on  with  freedom  the  fawn  color,  in  various 
sized  and  shaped  spots,  with  the  Indian  red  and  a  little 
white  mixed  ;  fill  all  the  spaces  between  the  spots  of 
fawn  color.  After  these  are  blended,  follow  over  their 
edges  with  a  fine  sable-pencil,  with  the  white  and  pure 
red.  When  these  are  lightly  blended,  the  work  is 
done. 

Sienna  Marble. — The  ground  for  this  is  yellow  ochre, 
a  little  white  and  chrome  yellow,  mixed  together  ground 
in  oil,  and  tempered  with  japan  and  spirits.  The 
shadings  are  yellow  ochre  and  white,  raw  and  burnt 
sienna,  ground  and  tempered  with  japan  and  spirits, 
made  to  run  into  each  other,  being  painted  thinly  over 
the  ground  with  a  brush  for  each  color,  and  blended  to- 
gether. While  these  are  yet  wet,  the  first  veins  are 
put  in  with  a  large  sable-pencil,  made  of  Venetian  red 
and  Prussian  blue,  lines  running  in  the  same  direction 
and  lightly  blended  in.     Those  nearest  the  surface  are 


212  ARTIST    AND    TRADESMAN'S    COMPANION. 

formed  of  lake,  Indian  red,  and  blue,  and  follow  the 
same  general  direction,  and  must  be  drawn  with  care 
and  spirit.  After  the  work  is  dry,  the  shading  can  be 
deepened  with  a  glazing  of  raw  and  burnt  sienna,  and 
the  darker  veins  run  over  with  lake  and  Prussian  blue. 
Specimens  of  the  natural  marble  are  the  best  guides. 

Black  and  Gold  Marble,  is  imitated  by  painting  the 
ground  a  good  black ;  then,  with  a  thick  mixture  of 
yellow  ochre,  white,  and  a  little  vermilion,  imitating  the 
gold-color,  put  on  in  masses  in  various  parts  of  the 
work  with  a  small  brush,  quite  full  of  color,  dabbed  on, 
and  from  these  spots  small  veins  must  be  wavily  drawn, 
like  thick  and  thin  threads  vai'iously,  in  one  general 
direction,  and  sometimes  a  clear,  white  vein  crosses 
them  diagonally,  keeping  the  same  general  course. 
When  dry,  varnish  it.  Small  specimens  are  sometimes 
produced  beautifully  by  putting  on  strips  of  gold  and 
silver-leaf,  painting  the  black  over,  and  wiping  out  the 
bright  veins  with  a  stump  and  bodkin,  and  then  var- 
nishing. 

Verd- antique. — Have  pure  China  white,  ground  fine 
in  japan  and  spirits,  Prussian  blue  the  same,  and  also 
raw  sienna.  Over  a  black  ground,  paint  the  white,  with 
the  copper-bound  brush,  in  shady,  diagonal  stripes  over 
the  work.  Then,  with  the  wash-leather  over  the  finger, 
by  turning  it  firmly  and  quickly  around,  imitate  the 
shells  and  other  fossils  in  various  parts ;  with  an  over- 
grainer  pass  over  the  white,  to  draw  out  faint  lines  over 
the  black.     After  it  is  dry,  glaze  some  parts  with  Prus- 


ARTIST  AND    TRADESMAN'S    COMPANION.  213 

sian  blue,  and  others  with  raw  sienna,  and  If^ave  some 
black  and  white.  The  thicker  veins  may  be  touched 
with  the  sable-pencil  with  Prussian  blue,  and  over  the 
strong  lights  small  dark  veins.  When  dry,  the  final 
glazing  is  to  be  made  with  Prussian  blue  and  raw  sienna 
mixed,  which  will  form  over  the  work  a  fine  warm  green. 
When  dry,  it  is  ready  for  the  varnish, 

Porjihyry. — The  ground  is  white,  mixed  with  Indian 
red,  and  heightend  with  vermilion.  The  spots  are  pro- 
duced upon  it  by  tinting  white  with  the  ground-color, 
into  which  the  copper-bound  brush  may  be  dipped,  and 
well  worked  in  the  color,  then  carefully  drawn  over  the 
edge  of  a  pallet-knife  to  discharge  the  color.  Then, 
holding  the  handle  firmly  between  the  palms  of  the 
hands,  turn  it  around  swiftly  in  the  pot,  until  scarcely 
any  color  is  thrown  from  it.  Then,  holding  an  old 
knife  over  the  work,  strike  the  copper  binding  of  the 
brush  upon  it,  and  it  will  spot  the  work  in  points.  When 
dry,  it  must  again  be  sprinkled  with  a  little  darker  color, 
made  so  with  Indian  red  mixed  in  with  a  little  white, 
and  put  on  in  clouds  on  parts  of  the  work.  The  last 
coat  is  done  with  very  fine  spots  of  white,  sprinkled  in 
the  same  way  from  a  brush  wrung  out  as  dry  as  possi- 
ble, and  the  stick  held  a  yard  or  two  from  the  work,  on 
which  the  brush  is  knocked.  A  thin  white  vein  or  two 
in  the  corner  completes  the  work,  and  when  dry,  it  is 
ready  for  the  varnish. 

Graniting  is  done  in  the  same  manner,  substituting  a 
light  gray  ground,  and  spotting  with   blue  black  and 


214  ARTIST    AND    TRADESMAN'S    COMPANION. 

white  mixed  ;  the  next  coat,  ivory-black  and  a  little 
white ;  and  the  last  white,  with  a  little  blue  black 
mixed. 

These  directions  may  suffice  to  guide  the  workman  in 
imitating  any  Marbles,  yet  Nature  must  be  the  best 
guide,  and  as  many  specimens  obtained  as  he  can  pro- 
cure. 


DIEECTIONS  FOR  PAINTING  SAIL-CLOTH,  TO 
MAKE  IT  PLIANT,  WATER-PPtOOF,  AND 
DURABLE. 

In  order  to  do  this,  you  must  boil  ninety-six  pounds 
of  English  ochre  with  boiled  oil,  and  add  to  it  sixteen 
pounds  of  black  paint.  Dissolve  a  pound  of  yellow 
soap  in  two  gallons  of  water  on  the  fire,  and  mix  it 
while  hot  with  the  paint.  Lay  this  composition,  with- 
out wetting  it,  upon  the  canvas  as  stiff  as  can  conve- 
niently be  done  with  a  brush,  so  as  to  form  a  smooth 
surface ;  the  next  day,  or  the  second  day  after,  lay  on  a 
second  coat  of  ochre  and  black,  with  a  very  little  soap ; 
allow  this  coat  a  day  to  dry,  and  then  finish  the  canvas 
with  black  paint. 

Directions  for  making  a  Varnish  which  will  protect  Glass 
from  the  rays  of  the  sun.  •■ 

To  do  this  properly,  reduce  a  quantity  of  gum  traga- 
canth  to  fine  powder,  and  let  it  dissolve  for  twenty-four 
hours  ill  white  of  eggs  well  beat  up  ;  then  rub  it  gently 
on  the  glass  with  a  brush. 


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